quête:dj mode

how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

2026 Repress

Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out

Buoyant, spirited, and merging the cultural influences of the Ivory Coast, Burkina Faso, and Lebanon, Moaïs debuts on 1432R like a cool glass of water. This EP blends his African influences with modern and informed house traditions, building a sound that’s energetic and timeless. It’s music colored by a longing and loving obsession with the stars and their guiding light, oriented to the DJ, and guaranteed to get the club rats racing.

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

Full of bounce and experimentation in equal measure, ‘Triple Transit,’ Braille’s new album for Hotflush is about leaving his Sepalcure project (with Machinedrum) in the rear mirror, moving back to New York and using its energy to fuel new moves, confronting our hyper layered world and overcoming personal difficulties by being creative.

Focused squarely on utilising modular synthesis in sprawling studio sessions, the album covers a wide stylistic range and draws on the artist’s formidable battery of experience to craft a body of work that packs real emotional punch as well as a dancefloor sensibility.

We had a quick chat with him to wet your appetite…

Praveen Sharma aka Braille:
Moving on from Sepalcure
“That period of time when Sepalcure was at its peak was really inspiring. I’m still really in awe and humbled by the fans. It’s always amazing to hear about how music you’ve made has brightened up other people’s lives in some way, but ‘Triple Transit’ is really about transitioning from that period to something new. I’m intentionally not using many vocal samples on this album. That became quite a crutch for Sepalcure and I wanted to try and find ways to evoke those emotions and connect with the audience in other ways.”

The roots of his Bounce
‘Sour Patch Kiss’ and ‘While We’re Free’ are inspired by classic house and some early Detroit stuff. Songs like ‘Big Fun’ (Inner City), ‘I Wanna Be there’ (Model 500) and slowed down ‘Sex on The Beach’ (DJ Assault) have stuck with me since the beginning. I used to listen to this slowed down and doubled version of ‘Sex on The Beach’ on an early Juan Atkins mix cd on REPEAT when I was in high school.

Getting ambient
Triple Transit slows down and transitions through a bit of sadness and eventually acceptance at the end of the album. A lot of the music I’m making these days is trying to recreate that manic feeling so many of us have in 2024. Between social media, ridiculous hustle culture expectations and depressing global and national political events, it’s hard to not feel overwhelmed. I feel like Triple Transit is kind of a parabolic curve from mania to joy to a sober realization that yeah, actually the world is just fucked but somehow we carry on.

German DJ Anna Reusch debuts on Electric Ballroom with “Raya and “Salme," two Peaktime Techno tracks that have been stirring up a frenzy. Leading a new generation of artists pushing modern Techno's boundaries, Anna expertly blends Techno with Psy and World Music elements to create her unique sound. Known for her deep connection with fans, Anna’s music channels the essence of her powerful, superbly crafted DJ sets. It’s her innovative sound that's reshaping the genre and excites Techno lover across the globe.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in many of Frankie’s productions. Having both worked together for many years they established themselves as ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purposed classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music.

For the third volume classic cuts such as Inaya Day & Robin S. - Right Now (A Director’s Cut Master) and Marko Militano - Good People (Director’s Cut Signature Mix) are nestled alongside equally absorbing Directors Cut mixes of Vintage Lounge Orchestra covering 'Dreams' and Art Department pres. Martina Topley Bird feat. Mark Lanegan & Warpaint covering 'Crystalised'.

The Director’s Cut Collection is a fitting tribute to commemorate the seventh anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.



DJ Feedback:

Dixon - 5/5 - "Classic"

The Black Madonna - 5/5 - "Love you Frankie!!!"

Laurent Garnier - 5/5 - "“niiiiiiiiiiiiiiiiiiiiiiiiice OHHHH SOOOOO NIIIIIIIIIIIIICE !!!!!”

Honey Dijon - 5/5 - "Iconic!!!!!!"

Axel Boman - 5/5 - "It's all about love - not about emotions!!!!

Adam Beyer - 5/5 - "<3"

Space Dimension Controller - 5/5 - "Always"

Tensnake - 5/5 - "Classic Love It"

Jonny Rock - 5/5 - "Hot!!!"

Prins Thomas - 4/5 - "very nice! fresh take on an all-time classic"

Len Faki - 5/5 - "It's been a while listening to this masterpiece - and yes - it's timeless and I love the new touch on the new version. thanks Frankie!"

robdabank (Radio 1) - 5/5 - “One of my all time faves and great mixes here!”

Severino Panzetta (Horse Meat Disco) - 5/5 - "OH YASS!!"

Matthias Tanzmann - 5/5 - "Can't believe it has been five years already. Legendary

Michael Serafini - 4/5 - "Excellant Retouch on this!!!"

Ease-Nightmares On Wax - 4/5 - "Timeless classic for a true legend RIP x"

Timo Maas - 5/5 - "well...classic!"

Tiefschwarz - 5/5 "bless Frankie Knuckles!!"

Red Rack'em - 4/5 - "Love this new version. Really tasteful. Well done!"

We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.

"Following on from May's "ECHOES Part 1 & 2" this is the second single of three to be released as an introduction to the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

This time it's one for the reggae fans and dubheads with contributions from Diggory Kenrick who has been busy over the last few years adding the distinctive sound of his flute to many new reggae productions. He is also an associate of the U.K. reggae label Pressure Sounds that specialises in reviving classic sounds from the roots and dancehall eras of the genre. Also joining the production is Takafumi Noda aka Mystica Tribe, a Japanese producer and musician who has specialised in a new form of dub techno and is known for adding the signature sound of his melodica to productions of dub friends from around the world.

The subject of travel, especially along modern, fast routes has long been subject to fascinate musicians, from the days of Kraftwerk's "Autobahn" and now the whole genre of dub techno seems to be one built for listening on long journeys. The Autostrada Del Brennero / Brennerautobahn is one of the most important motorways in Italy, as it connects the Po Valley with Austria through the Brenner Pass and features many modern bridges and overpasses that are ready built illustrations for the covers of dub techno albums! On this release this major European truck route is celebrated musically by Ulrich Troyer with inputs from Diggory and Taka to create two modern dub classics."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)


Credits:

Diggory Kenrick: flute

Taka Noda: melodica

Didi Kern: drums

Ulrich Troyer: analog synthesizers, analog drum-machines, sampler, dub effects

A written by Diggory Kenrick & Ulrich Troyer

B written by Taka Noda & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except flute recorded by Diggory Kenrick at Holloway Studio, London / melodica recorded by Taka Noda at Mystica Sound Studio, Tokio

Mixed & arranged by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer


Special thanks to Steve Barker, Osman Murat Ertel, Diggory Kenrick, Eva Kelety and Takafumi Noda

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.

Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.

While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!


Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop!

Fuelled by the Berlin-based duo's love of club music in all its forms ''FJAAK THE SYSTEM'' is FJAAK's most definitive album to date, a winding sonic odyssey that surveys the rave landscape, dipping between frantic euphoria and deep contemplation. Featuring sizzling collaborations with Modeselektor, Skee Mask, Red Eye and J.Manuel, the album draws a bold line under FJAAK's 15 years of mischief and mayhem, pulling together 23 tracks (culled from over 300, no less) that truly reflect the duo's boundless enthusiasm for the dancefloor. Grazing UK breakbeat, techno, 2-step, d'n'b, jungle, trip-hop and ambient, these elasticated, hybrid bangers paint a vivid picture of FJAAK's utopian club ideal, a place where genre boundaries evaporate and only the groove remains. Since graduating in audio engineering in the early 2010s, FJAAK have been challenging the logic of a maddeningly conservative club scene with their hardware only live shows, DJ sets a myriad of record releases. In 2019 they launched the label and platform Spandau20 with a steady flow of records and a mixtape series featuring new talent and established artists. With their rebellious attitude and notoriously energetic live sets, the duo have brought back a crucial lost ingredient to the rave: playfulness. And if their well-loved albums 'FJAAK', released on Modeselektor's Monkeytown imprint, and 'Havel' set the scene, 'FJAAK THE SYSTEM' rises above and beyond expectations, creating a new benchmark. It's not just blood, sweat and tears either, FJAAK's advanced technical knowhow and love of synthesizers and drum machines helps them formulate a sound that's conscious of dance music history, but focused on a brighter, more equitable future. Their second single 'And You Feel' is an emotional rollercoaster combining UK breakbeat with a dubstep-influenced bassline wobler and alluring vocals, emulating the moment the mind becomes a tranquil void through the crescendo of adrenaline like a strain of physical exertion. This is reflected on their new music video which shows an unexpected ''rage room'' scene.

DJ Support: David Penn, DJ Mes, Kevin McKay, Sebb Junior, Art Of Tones, Robbie Rivera, Moon Rocket, Peter Brown, Hatiras, Johnick, Dam Swindle, Jimpster, Disclosure, Ricardo Villalobos, Luke Solomon, Nightmares On Wax, Laurent Garnier, Louie Vega, Steve "Silk" Hurley, Terry Hunter, DJ Sneak

A1 – Vinyl opens on serious anthem by one of Chicago’s greatest also known Stacy Kidd. 'Music For You – MF Mix' encaptures the soulful power of music and the silly energy of garage house dancefloor. This already classic banger track got some little twist for 2024 re-release, and we are honored to be able to release such a nice House track on wax eventually, almost 18 years after Original release (2007)

A2 – Fouk is serving some powerful deep house disco driven music, with a clear inspiration taken from the Garage house spirit of the 90’s-2000 golden era. The result is Cobalt, an impressive dancefloor weapon delivered by the acclaimed duo from Netherlands.

A3 – We are honored to welcome Michele Chiavarini into closing A side on a deeper touch – Vibe We Share. If michele is known for its musicianship and craft capacity that brought him to work all around in the music, he delivers here an interestingly deep house track, with beautiful vocal addition that bring a modern flare to the classic soulful house sound.

B1 – B Side open on a disco banging track, and who better than the jackin house hero Angelo Ferreri to get ourselves shaking heavy on another disco cut ? All Time Disco is probably a track that will have a strong connection with hectic dancefloor. What a delight

B2 – Some very delicious vibes follow on with Marc Cotterell addition to the compilation – Paris By Night. Here goes a journey to soulful house and organ ride with many garage house hints & breaks, Marc brings here a very musical track that might fit easy listening session and dancing hours both with ease and elegance.

B3 – Last of the list comes Teuteu with Kong. Emerging artist and newer to the scene than most of the previous artists, teuteu is noneless bringing some awefully interesting vibes on his B3 closing with a heavy Jazz House track. Organ jazz solo, deep chords, broken house patterns, all you needed to wrap up our Gravity compilation with adequate taste and charm.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

DJ Support: Mark Knight, CJ Mackintosh, Mousse T, Dr Packer, Eric Kupper, Lenny Fontana, Ricky Morrison, Laurent Garnier & many more.

Michael Gray’s star has been firmly in the ascendant in recent years, with a string of chart-topping, floor-filling productions and remixes under his belt. The excitement is therefore palpable for his soon come album Optimism, which sees Michael pour both his heart and his three decades + of experience into what will be one of THE albums of the year.

'This album has been a year and a half in the making,' states the ‘Weekend’ hitmaker and one half of legendary disco house pioneers Full Intention, clearly now keen to release his career-defining magnum opus out into the world.

In these confused and often frightening times, we need musical communion more than ever. Only too aware of this, Michael has 'set out to make an album full of positivity.' Needless to say, the resulting 'hybrid of classic disco mixed with modern disco and soul' hits the spot and looks set to provide a soulful summer soundtrack to lift spirits and fill dancefloors.

In an era of often generic, over-computerised sounds, Michael returns to the source of his lifelong musical inspirations. 'Most of these productions have involved working with live strings and horns,' he enthuses. The musicians include live drums by Derrick Mckenzie from Jamiroquai, percussion by Russ Tarley from Incognito and string arranger Stephen Hussey, known for his work on Soul II Soul’s early hits.

Michael’s much-needed musical missives for the ages are masterful manna from the heavens. Things just got optimistic.

2025 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

A veteran of the great Malian orchestra, the Super Biton de Ségou, Mama Sissoko is an accomplished musician. His music traverses Mandingo, Bambara, Sarakolé, Songhai, Bobo, Peul, Malinke and Bozo traditions, all while flirting with jazz. On stage, Mama Sissoko is a purist who engages with the audience bringing his energy, urgent vocals and truly inspired guitar solos throughout the concert. ‘Live' brings together recordings from a concert given in Paris at La Villette in 1998 and takes us back to a high point in Mama Sissoko's career.

In ‘Live’, we find tracks from Mama Sissoko's second solo album 'Soleil de Minuit', which was released in 1999 by Buda Music. As on the album, the different guitars overlap without compromising the unity of the music, rendering an earthy atmosphere despite being very complex. The recording of this concert was superb. We can hear every note, every nuance, every instrument and voice in the many-layered compositions.

As on the album ‘Soleil de Minuit’, this live recording opens the session with ‘Diarabi’, followed by ‘Safiatou’. Both are up-tempo love songs in which Mama Sissoko's powerful voice sings with all of the passion that such love songs deserve over a clean rhythm driven by the percussion of several guitars. The heavy bassline of ‘Safiatou’ adds to the urgency of the song. After these two beautiful renditions, the energy continues with the guitar-driven ’Fisiriwale’ and then a surprisingly original version of Super Biton’s famous song, ‘Iri’. We are then treated to a lively version of his ‘Soleil de Minuit’, called out by the artist as a ‘salsa Africana’ with a shout out given to Cuban salsa mid-way through when he calls the song ‘El Sol de Medianoche’ in perfect Spanish.
Throughout this concert, Mama Sissoko’s deep and melodic voice seems to emanate effortlessly from his body and soul. Multiple guitars back up his signature solos adding depth to the music that harkens back to the traditional music of Mali. Perfect examples of this are given in the songs ‘Douga’, ‘Manssane’ and ‘Hommage a K’. The last song, before a rousing second version of ‘Soleil de Minuit’, is ‘Boma Ma’, a truly modern rendition of a traditional Malian hunters’ song with multiple guitars, shakers, lively djembe and an outstanding vocal duet with Toussaint Sainé, Mama Sissoko’s long time musical collaborator.

Accompanied by incredible musicians, including Toussaint Sainé, his partner in the Super Biton orchestra, "Live" plays in the timeless way of Malian music. What's more, it gives us the gift of its most direct and powerful dimension, that of live music, as if 20 years hadn't passed.

Vocal house duo Bäs Noir’s ‘My Love Is Magic’ receives edits from British DJs Bushwacka! and Mark Broom on Nu Groove. Hailing from Philly, the female duo of Morie Bivens and the late Mary Ridley first released ‘My Love Is Magic’ as Bäs Noir in 1988, with the Rhano Burrell production going on to chart in the UK. Today, the record remains a favourite of tastemakers everywhere, with Big Love label boss Seamus Haji dropping the OG at Defected Croatia in 2023. The hugely influential British DJ and producer Bushwacka! now returns to the legendary NYC label Nu Groove, following his four-track EP ‘House Sounds Vol. 1’, to bring out the percussive power of ‘My Love Is Magic’ with its distinct piano bassline and modern synth work. Also a Nu Groove returnee, the seasoned DJ Mark Broom delivers a techno A-12 Edit and house Dub Re-Touch of the Bäs Noir vocal house staple.