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Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

MOVEMENTS Vol.11 – A bag full of rare rhythm & blues, mod-jazz, soul, and mid 70s funk.

Side A starts with rhythm & blues and jazz from the 1960s. The first three tracks were pulled from hopelessly obscure 7" singles. Macy & Company are responsible for the first 'aha' moment. Their version of "Sixteen Tons" would have certainly astouned even Tennessee Ernie Ford. A truely fantastic version indeed! "Snatchin' It Back" completes the first side with a furious bigband jazz cut.

Side B is all about mod-jazz. "Undun" is just like "Big Boy" a sure-shot for any dancefloor. Rare Groove DJs will have a lot of fun spinning these tunes in a club. Admittedly, the next one is a strange cut. "See How You Are" was recorded on a whim when they two composers were spontaneously pulled into a studio. High time for 'aha' effect #2. Many bands have tried their hands on a cover version of the Lee Morgan jazz classic, one of them being Mr. Palumbo. Listen closely to Dianne Elliott's contribution as it is a highlight for sure despite the fact von Frau Elliott.

Side C begins with 'aha' effect #3 and a fantastic cover version of Gerald Wilson's "Viva Tirado". "Blue Jamaica", is the second track on Movements 11 were a vibraphone is the lead instrument. "Bawana Jinde" is a wild, wailing blast of percussive instrumental explosion while "The Creeper" is the perfect choice to finish this side.

Side D is reserved for proper 1970s funk. The flip side of Reunion's sole 45rpm single was included on a previous Tramp compilation album. "A Brighter Day" has not been compiled yet. "Real Life", "Syrene" and "Breezy" are all prime examples how mid 70s funk has to sound . A dream for B-Boys and B-Girls.

Those of you who have been enjoying the detective work of the people behind the label over the past 18 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Libreville Records presents Totāl Cuevas, a seminal compilation album of legendary DJ Guy Cuevas's own music.

Guy Cuevas is a French-Cuban writer, musician, and DJ, pioneer of the art of modern DJing.
A key figure on the Paris night scene, Guy Cuevas gained a cult status as the resident DJ of the mythical nightclub Le Palace, gathering thousands of people every night under his booth, shepherding them with his music towards euphoria. He also collaborated with a great number of Fashion brands, such as Yves Saint Laurent, Kenzo, Dior, Hermès and many more.

In the early 80s, Guy Cuevas released a handful of records, channeling his hedonism and natural grandeur into his sound, creating a unique music of his own.
Totāl Cuevas brings together music from his three singles Ebony Game (1981), Obsession (1982), and Gallo Negro (1984), and includes previously unreleased alternate mixes.
Guy Cuevas’s most iconic output, "Obsession - The Nassau Mix" (mixed by François K) gets a fresh new reboot with "Obsession - The Paris Version".

Remastered from the master tapes.

(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

亂 (luan) is the latest release from LA based producer/DJ Mix Match Emperor who weaves powerful soundscapes with an amalgamation of field recordings, obscure samples and original music compositions that combine to form a cohesive work of sound art that stays true to its name, translated to “Chaos”.
The combination of jazz samples and lo-fi mixing techniques create a cocktail that in parts resembles vaporwave whilst regularly pulling away from any genre formulation with sharp cuts into noise and then back through electronic rhythms reminiscent of Autechre.

Although listeners can often be tempted to pick out their favourite tracks, this record is definitely designed to be listened to in its entirety, as it takes you on a journey through varying phases that nod to both Steve Reich & the late Sam Mehran simultaneously.

The album is the leadoff release under the Strictly Frisky label with a limited cassette run available here for the first time.

The insanely-prolific (as well as simply, insane) DANGER BOYS are most likely no stranger to your ears. In the past few years, the Neapolitan duo of (Raffaele Arcella) WHODAMANNY and (Enrico Fierro) MILORD has churned out innumerable releases (both as solo artists and with their projects THE NORMALMEN and MYSTIC JUNGLE TRIBE, of which the duo comprises 2/3) that have infected dance floors the world over.

Here, the duo inhabits their latest incarnation/incantation: DANGER BOYS. The result: a postapocalyptic, post-punk, disco-not-disco masterpiece that sounds like a record you dug out of a dusty flea market bin in Mexico City in 1982 - or maybe 2082 - hard to truly say.

The EP starts off with the spaced-out chugger, Monsters From the Future - which drags you into their bizarre universe, before ratcheting up the tempo for the rest of the EP.

Next up is Mind Control Musique, which delivers an insanely catchy chorus sung in a non-existent language.

THEN - the B-side - where Danger Boys opt to sing in Spanish for two versions of Gringo Tropicana, a track which is already becoming a staple of numerous prominent DJ’s summer festival sets (including Bradley Zero, Yu SU, and Artwork, to name a few).

As always, Vinyl only. Picture sleeve with OBI strip.

Limited version 2LP on red vinyl in gatefold sleeve. An outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.

The groove-obsessed Sdban Ultra label are pleased to present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.



'Lefto presents Jazz Cats volume 2', released 24th June, features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from (STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, 'Lefto presents Jazz Cats volume 2' is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums, making 'Lefto presents Jazz Cats volume 2' an essential release for any jazzhead with a passion for new sounds.



"By collecting all the music for 'Jazz Cats volume 2', I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than 4 years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap or afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022. So, once again it is with extreme pleasure that I present to you some of the best present and next generation of jazz cats this little country has to offer."



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters including Black Flower, STUFF., and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews.



Tastemaker, selector, curator, DJ and producer, Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that moulded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection.



Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent. World renowned, he regularly blesses sound systems from Tokyo to Seoul, Singapore to Manila, Kazakhstan to Germany, San Francisco and Los Angeles, with residencies in Amsterdam and New York.

The groove-obsessed Sdban Ultra label are pleased to present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.



'Lefto presents Jazz Cats volume 2', released 24th June, features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from (STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, 'Lefto presents Jazz Cats volume 2' is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums, making 'Lefto presents Jazz Cats volume 2' an essential release for any jazzhead with a passion for new sounds.



"By collecting all the music for 'Jazz Cats volume 2', I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than 4 years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap or afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022. So, once again it is with extreme pleasure that I present to you some of the best present and next generation of jazz cats this little country has to offer."



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters including Black Flower, STUFF., and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews.



Tastemaker, selector, curator, DJ and producer, Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that moulded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection.



Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent. World renowned, he regularly blesses sound systems from Tokyo to Seoul, Singapore to Manila, Kazakhstan to Germany, San Francisco and Los Angeles, with residencies in Amsterdam and New York.

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

THE CULT 1990 DEBUT ALBUM OF INFLUENTIAL UK GRINDCORE FROM
PROPHECY OF DOOM - PRESENTED ON THE VINYL FORMAT WITH
COVER ARTWORK FROM THE ORIGINAL 1990 PRESSING.UK grind/death
veterans Prophecy Of Doom formed in Gloucestershire, 1988, with
bassist Martin Holt & vocalist Shrew Schroder uniting to embark upon a
journey to create something challenging & memorable to stand out in the
UK scene
After a few personnel changes whilst looking to establish a permanent recording
line-up after their 1988 demo & the 1989 EP, 'Calculated Mind Rape' (which had
brought the band to the attention of legendary DJ John Peel), the time had come
to create their debut full- length album. And so 'Acknowledge the Confusion
Master' came to be & was released in 1990 on the burgeoning Peaceville Records
& their then newly established sub- label, Deaf Records. A highly effective
concoction of blasting amid a titanic wall of raw grinding riffs & chaos propelled
Prophecy Of Doom to the forefront of the scene, also leading to two recording
sessions with John Peel & further enforcing Prophecy Of Doom's position on the
map of notable British grind acts.
As a further distinguishing factor, there was a great depth & consideration to the
themes of the album, perhaps in stark contrast to how the tracks were presented
sonically. Written by mainman/vocalist "Shrew", there with a strong philosophical
element to the lyrics, an exploration of awareness & intuition amid an era of
increasingly suppressed feelings & an urge to rise above mental restrictions.
This vinyl edition of 'Acknowledge the Confusion Master' contains cover artwork
from the 1990 release with printed inner sleeve containing lyrics & receives its
first vinyl pressing on Peaceville since that initial 1990 edition.

Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience.

Since slipping out a decade ago, Fürsattl’s sole 12” on Claremont 56 has become an in-demand item, thanks to a mixture of its’ undeniable quality and the patronage of several high-profile, well-regarded DJs. Because of this, the label has responded to demand for a reissue of those two tracks and announced the release of a double-album of the krautrock-inspired trio’s works for the label.

Presented in a gatefold sleeve sporting Mark Warrington’s original 2012 artwork and limited to 400 copies, the 2022 album edition of Rheinlust not only tells the tale of the band’s now decade-long association with Claremont 56, but also features a previously unreleased track from the archives, ‘Für Paul’. Tucked away at the end of the LP, the track is amongst the most atmospheric in their catalogue – a slowly building number in which celestial synthesizer chords, ambient textures, echo-laden electric piano chords and lilting synth strings rise above a rubbery bassline and Jaki Liebezeit style drums.

It provides a superb conclusion to a genuinely evocative album of music you can get lost in, but it’s by no means the only highlight. Fittingly, the album’s first slab of wax boasts both tracks from Fürsattl’s hard-to-find debut 12”: title track ‘Rheinlust’, a driving but deep and hypnotic krautrock masterpiece full of elongated chords, restless bass, twinkling motifs and cascading electronic melodies, and the wonderfully epic ‘Links Der Pegnitz’. Clocking in at just under 15 minutes, this sublime excursion features band members trading glistening guitar and colourful synthesizer solos over a funky but laidback groove that sits somewhere between krautrock and cosmic funk.

The album’s second slab of wax showcases Fürsattl’s lesser-known tracks for Claremont 56, alongside the previously mentioned unreleased cut. These two workouts were originally featured on the label’s Claremont Editions compilations and further expand on their now trademark krautrock sound. There’s ‘Leerlauf’, a breathlessly up-tempo, weighty and immersive chunk of low-slung dancefloor creepiness that you’ll want to get lost in time and again, and the twangy and buzzing ‘Haru’, a birdsong-splattered affair that sounds like their tribute to krautrock originals Neu! and Harmonium. Like the rest of the album, these are seriously seductive outings that slowly build towards impactful, emotive conclusions.

Clear Vinyl

Tacit Group is an audio-visual group founded in 2008 with a vision of creating new art for the 21st century. Based in Seoul but working globally, the group comprises composer Jaeho Chang and electronic musician Gazaebal(Lee Jinwon).

With audio-visual art as its core content, Tacit Group has expanded in a contemporary and experimental way in multimedia performances, interactive installations, and music installations. Representative works such as ‘Hun-Min-Jeong-Ak,’ ‘Game Over,’ ‘Morse ㅋung ㅋung,’ combine a systematic worldview weaved through intuitive materials and technology inspired by normal everyday activities such as games and text chatting. In particular, works that utilize the beauty and communica- tion power of characters are among their most striking.

“It’s like wind chimes,” says Tacit Group’s Jeaho Chang. “The creator makes the pipes, but the wind makes the music.” He’s talking about the algorithmic music that Tacit Group creates. Jaeho and Gazaebal create audio/visual systems using code that the pair work within to unleash their utterly compelling AV performances, each show, each track, as unique as a snowflake. The pair met at Korea National University of Arts in 2006. Jaeho Chang was a media installation artist and composer who’d studied classical composition in Korea and electronic music at Den Haag’s Conservatoire. Gazaebal, who’d moved to the US as a teen, had worked at the renowned Quad group studios as a sound engineer, recording acts including Rage Against The Machine, Wu Tang and Janet Jackson. Returning to Korea, he had found success as a K-Pop producer, (founding the act Banana Girl, and writing their No.1 Korean hit ‘Shake Your Ass’) and DJing under the moniker Gazaebal, before deciding to go ‘back to school’ to learn to create more challenging music.
The quiet and reserved Jae and the more outgoing Gazaebal bonded over a shared vision, forming Tacit Group in 2008. And until recently, everything they have done has been through the medium of their globally acclaimed live shows, playing all over the world from Lincoln Center in NY, the Museum of Contemporary Art in Chicago, MMCA (National Museum of Modern and Contemporary Art) and Nam June Paik Art Center in Korea, Aarhus Festival in Denmark, Stereolux in France and NYU Abu Dhabi.

Each show an utterly unique and compelling event, a synthesis of music and visual art that has echoes of the concept of synesthesia: “we love the idea that the audience can ‘see’ the music.” says Gazaebal, “the way that you can hear a painting like Edvard Munch’s ‘The Scream’.” The frameworks and systems are created in advance using code such as C++ and max/M- SP(sometimes combined with analog and modular synthesizers), often growing out a of a simple idea (one of their first composi- tions, ‘Game Over’ explored the idea of a Tetris gameplay as a musical score) while on stage the pair react to the audience, creating new inputs and variables that can lead the performance in ways that are unexpected and even self sustaining - some of their installations could in theory continue to evolve and run on into infinity.

For Tacit Group, the process is as important as the outcome, and every bit as fascinating for the audience, who’ve been known to react like the crowd at a rock band gig to tracks / installations like ‘Hun-Min-Jeong-Ak’ which sees abstract geometric shapes based on the Korean alphabet evolve (through the process of live text interchanges between the pair) to become almost an immersive call and response.With that in mind, the duo have long been reluctant to commit to the idea of releasing via a ‘fixed medium’ it was actually the release of an acclaimed (and beautifully designed) book Tacit.print0_Anthology that convinced them to share their work more widely through an album.

Versatility does not even come close to describing how the humble Japanese ¥ØU$UK€ ¥UK1MAT$U is considered to be one of the best DJs in the world by many of his peers. From his debut at DJ Nobu’s FUTURE TERROR event to performing 3 years consecutively at Berlin Atonal Festival, Yukimatsu’s sets have to be heard for you to understand.

In this special mix album, Yukimatsu gathers round his producer friends to build vessels of the story structure. Threading the pages together, interweaved by friendship and sine waves, he has crafted a masterful presentation from their individual messages. Pulling and stretching all sonic shapes and shades while exploring the farthest reaches of sound, the result is a frequency soup of twelve outstanding tracks that when sequenced together, become part of a greater, grander story: Midnight is Comin’.

From the sound art experimentations of orhythmo – Nagel and wide yawning strings in Ryo Murakami – Reminiscence to the rhythmic slo-mo haze of Sapphire Slows – Hinotori and the exponentially pulsing colours from DJ Nobu - Yakou Gai. The DMT-like spacious virtual meditation hall of KEIHIN – Exhale follows the uneasy footsteps of YPY – MS to the intermissioning chapter of City – 9K. Fall into the wormhole of COMPUMA –Flowmotion (IN DUB) and be transported to the reverb-drenched, intimate experience of Coni – Ängelsbäcksstrand, the primal invocations of Gabber Modus Operandi – Kisah (which also means story in Bahasa Indonesian) to the transcendent notes of SPINNUTS - Zweimal schlafen atmosphäre. The soaring universe of Albino Sound – Celestial Sphere wraps up the album with crystalline notes.

“Versatile is not even close to describing his music selection and mixing skills as he plays anything without prejudice and is purely music loving. He is extremely humble, can mix anything and make it sound interesting.” – nolens.volens (Bangkok, Thailand)

restock

We are proud to present the stellar debut and collab between the renowned Peruvian duo Dengue Dengue Dengue and Argentinian Prisma. ‘Pliegues' creates a hypnotic journey and infectious cadences that invites you to close your eyes while your hips move to the sound of colliding polyrhythms and powerful FM synth lines.

But there is also room for the oneiric realm on this EP, with the track 'Grietas' this new trio opens a portal to steep and melodramatic terrains. Meanwhile the remix of ‘Brechas’ from our friend empanadas aka DJ Python unleashes his sincere trademark of atmospheric and sentimental dembow. Finally, el paisa Verraco makes his label debut reshaping the lead track with a bombastic, deconstructed, bipolar summer banger full of edgy sound design.

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

(Emmanuel Top, Tom Hades, Kony Donales + original remastered) Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic.

Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic. Back in the mid-nineties, Frank Struyf was churning out top club hits on Dance Opera, Circus, Frank’s own Zolex Records and our very own XTC and Bonzai Records imprints. Despite his busy DJ schedule Frank still found the time to produce his own sounds. Many years of producing quality records followed and he is still twiddling the knobs and spinning sets to this day.

The Original Mix graces the A1 slot, with its dark drums and rolling techno vibe hitting the spot. Moody and twisty, the groove becomes infectious and hypnotic thanks to a combination of blippy, bleepy sounds and relentless strings. The energy levels rise after the break, causing chaotic scenes on the floor, an absolute stomper. French DJ and producer Emmanuel Top takes up the A2 slot, delivering a fine remix with his instantly recognisable signature sound. Responsible for so many acid laden moments throughout his career, Emmanuel Top remains an inspiration to many. On the remix here, the tension mounts as 303 lines fade up alongside a hybrid drum construction and hypnotic FX. The acid effect takes hold, dominating the groove, the perfect set builder to whip up the crowd. Over on the flip, Belgian artist Tom Hades offers up his interpretation, turning the original into a slamming slice of techno for the modern dancefloor. Undoubtedly, Tom is responsible for some of the best techno joints released in recent years. Here, he employs his skills to great effect, using banging beats and minimalistic sounds that drive a solid, dark room techno vibe. This one is a must have, no doubt. To complete the vinyl, we have French artist Kony Donales on remix duties. Kony is the owner of Cayden Records which has churned out top techno tracks since 2011. He is known for his minimal style and he definitely knows how to work a track. The remix here brings the essence of Time Modulator into the 21st century with a strong contemporary groove. Nice pounding kicks and crispy percussions set the rhythm loose as metallic hits join raucous percussions and FX. Top-notch stuff once again.

Boogie Butt Records presents its new release: we are happy to find on this one our friend Will The Funkboss that we had presented on our previous compilation Boogie Slice Vol. 1. He comes back with an incredible dancefloor banger with two slices of Electro Funk coming in 7inch limited vinyl.
Willie The Funkboss is one of the French Rap producers we respect. From his beginning as a DJ in 1991 to his sparks in production at the end of the 90's, everything he touched was good.
He began his career as the resident DJ of the only French club dedicated to Soul and Hip-Hop and started to produce remixes and hip-hop instrumentals before leaving for NYC to perfect his productions and DJ's, before returning to Lyon.
Upon his return, he puts his discoveries to good use by founding Le Gang Du Lyonnais with his friend Raf, a group that specialized in producing French rappers and singers, collaborating with the best of French urban artists. In 2003, they went gold with the single of 113 (Mafia K'1 Fry) "Au Summum".
Today, Will The Funkboss produces Hip-Hop, Soul, Nu-Disco and House on quality labels (Plaizir Musik, Smokin Beats, …), still in the groove!
Just pop it!

Four killer tracks of high grade electronic soul from James Baker AKA REKAB. A fantastic EP showing both breadth of style and respect for the roots and traditions of the music from this artist.The first, Locked on Dodge, is a driving deep Detroit techno track with a hypnotic arpeggiated lead and filtered atmospherics to lose yourself inside. Don’t get too comfortable though, it’s capped with a surprise electro switch in the breakdown to keep the floor on their toes! The second track, We Need to Care, delivers a cool clear synth sound design over Chicago influenced house tempo beats and lush pads. Simultaneously groovy and comforting, this is a track for those special moments. Jacking with your eyes closed and a big grin on your face.
Third we have a clear tribute to Drexciya with In Search of the Deep Sea Dweller. Tough 808 beats and laser zaps punch through a bed of evocative strings whilst a filtered single note loop rises and falls like the tide. An abstract robotic voice presides over the track, adding atmosphere whilst giving it a sense of mysterious machine driven intelligence.
Lastly, Too Much Time gets its space boogie on. Electro funk beats jump round staccato synth chords and a simple but effective Moog-like bass line. Once the scene is set, a writhing 303 joins the proceedings accompanied soaring pads and beautiful melodic leads that make you feel like you’re being lifted into the cosmos.
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ReKab aka James Baker from the UK started Djing in the early 90’s. Later on he started playing around with music. Finally the ReKab sound was established in 2019 with his first release on Where We Met records. Other releases followed soon on Móatún, Withhold, Intellitronic Bubble, We’re Going Deep and Fourier Transform.
His music is very deep and full of emotions and influenced by his love for Detroit.

New York's Marcos Cabral steps up for his first full release on Dimensions Recordings, with the Nature Walk EP.

Following on from his epic Prochainement masterpiece on Dimensions 002, the EP provides a glimpse into the mind of a well-established and hugely respected artist.

Nature Walk is a broad EP that demonstrates just why Marcos's records have been finding their way into a multitude of DJs' bags for the last fifteen years.

Johannes Kolter is Kolter, an artist formerly known as DJOKO, and now a hotly tipped breaks and garage head who has already got plenty of attention. Here though he makes a grand and widescreen statement with the first release on the all-new Pilot label. It is a stylish and adventurous record with plenty of killer cuts from the downbeat hip hop opener to the deep house delights of 'Journey' via the elastic and energetic future house kicks of 'Roboflow.' Showcasing both a knack for well craft synths and expert drum programming precisions, this record plays out like a mini DJ set with all the twists and turns you need to keep you on your toes and fully engaged.

AUF TOGO is the long-time collaboration of Sasa Crnobrnja
(from In Flagranti and Mytron & Ofofo) and Clement Cachot-Coulom
(from The Fabulous Penetrators and Big Girls).

After multiple singles and EPs on Leng Records and SaS Recordings, including two collaborative EPs with the tentacular outfit Becker & Mukai, acclaimed by fans and DJs alike, most of their time has been spent writing, recording and bringing to life the 8 amazing tracks that form their debut album “Movements”.

“Movements” follows in the steps of Auf Togo’s previous releases and won’t disappoint the early fans, but it also offers a completely new proposition. Their signature blend of slamming percussion, driving bass lines, psychedelic guitar hooks, fat analogue synths are expertly mixed with new musical ventures across the tracks: from the louche Hawaiian jazz of Along The Dotted Line to the psych-funk of Pan Con Tomate, the electronic wanderings of Mexico to the cinematic intensity of Radical Departures.

The result is a spell-binding summer album, one to listen to on a coastline somewhere under the Mediterranean sun, and one that is not afraid to wear its many influences on its sleeve, from 70s psych-rock to Balearic Beat, Space Disco and Afro Beat. The scope of “Movements” is wide and proves a captivating and gratifying listen.
Debut album from supergroup with members of In Flagranti and Mytron & Ofofo Pressed on 12” vinyl with artwork drawn and designed by Award winning animator Erica Russell UK/EU marketing campaign led by Neighborhood and specialist press/DJ by Your Army, with previous support from Mixmag, Trax, Ransom Note, NTS, Bill
Brewster, Andrew Weatherall and more.

Propulsive tabla percussion and meditative drones collide in deep instrumental conversation on Shruti Dances, the debut collaborative album between UK heavyweights Auntie Flo and Sarathy Korwar, forthcoming on the newly relaunched, Make Music imprint.

Across six exchanges of dynamic electronic production and richly layered Indian classical percussion, Shruti Dances discovers two architects of rhythm and movement on an explorative journey through South Asian tonality and diasporic identity.

One an elemental force on drums, the other on the decks, London-based, Indian-raised drummer/composer, Sarathy Korwar and Scottish-Goan producer/DJ, Auntie Flo first connected back in 2019, unaware both were navigating opposite ends of the beat equilibrium. Where Auntie Flo (aka Brian D’Souza) was new to Korwar’s reimagining of jazz, Indian classical music, electronics and spoken word, Korwar was already a big admirer of Auntie Flo’s intl-facing club output, having first discovered D’Souza’s Rainfall On Red Earth off his Soniferous Garden 12” and 2019 SAY award-winning (Scottish Album of The Year), Radio Highlife. Once properly acquainted, Korwar invited Auntie Flo to remix a track off his landmark 2019 album, More Arriving, described by The Guardian as “a stylistic leap from jazz to hip-hop to spoken word…a protest record encompassing the breadth of immigrant experiences”.

The seeds of an unlikely yet powerful musical bond had been sown and when mutual friend, co-founder of Mixcloud, and Make Music label organiser, Nikhil Shah, asked the duo to inaugurate the label’s new live/electronic direction (previously home to Leon Vynehall, U and George Fitzgerald), Korwar and D’Souza hit the studio. Expanding on early conversations around traditional Indian instrumentation, practicing meditation and improvisation, Shruti Dances (a riff on free dance movement, Ecstatic Dance) was born. Meaning 'that which is heard' in Sanskrit, shruti refers to a note in musical terms, but in this case also references the album’s most prominent influence and instrument, the shruti box.

“The shruti box formed the basis of the sound of the project. It’s a drone instrument, similar to a harmonium, and it makes an amazing sound. I’ve spent the last two years studying sound therapy, and immersing myself in ambient and drone through the Ambient Flo project, and am particularly interested in how they can induce meditative states of consciousness. I was really excited to hear what the Shruti box could do with this EP.” Auntie Flo

Across six tracks, (each named after 6 of the 7 main musical notes in the Indian solfege system), Shruti Dances draws on a celestial mix of traditional percussion and processed digital effects. On opening track Dha, Korwar’s sparse tabla rhythms hop across D’Souza’s scattered, arpeggiated synths, where as on Pa, a Balearic shuffle channels Moroccan Gnawa music and Senegalese sabar meets Mark Ernestus’s Ndagga Rhythm Force. Harmonic speed tabla and roaming drones provide a sense of the ethereal and fourth-worldly on Ma, a track that’s resplendent, curious atmosphere would fit snug into the deep listening-focused programming of Auntie Flo’s Ambient Flo online radio station, a curatorial platform and avenue exploring his interest/promotion of mental health, launched over the UK’s first lockdown. Ni sees Korwar pick up the sticks, thrashing toms in a spirited frenzy, whilst downtempo album closer Sa offers some room for reflection, its slow, swirling chords cloud our focus, leaving us with all but the distant sound of birdsong.

Yaya Bey ist eine der spannendsten Storytellerinnen des R&B. Mit einer Kombination aus den Kräften ihrer Vorfahren und denen ihrer eigenen Selbstverwirklichung navigiert die Singer-Songwriterin nahtlos an den Stolpersteinen des Lebens vorbei und direkt hinein in die freudigen Momente der Musik. Beys neues Album, „Remember Your North Star" fängt diese emotionale Achterbahn mit einer Mischung aus Soul, Jazz, Reggae, Afrobeat und Hiphop ein, die die Seele nährt.

Beys Fähigkeit, die emotional kaleidoskopische Natur von Frauen, insbesondere von schwarzen Frauen, anzuzapfen, ist die Essenz des gesamten Albums. Die von der Kritik gefeierte multidisziplinäre Künstlerin und Kunstkuratorin, die mehrere Kunstresidenzen im Brooklyner MoCADA (Museum of Contemporary African Diasporan Art) absolviert hat, beschäftigt sich mit Themen wie Misogynie, Generationstraumata, sorglose Romantik, elterliche Beziehungen, weibliche Ermächtigung und Selbstliebe. „Remember Your North Star“ setzt Beys persönliche und künstlerische Entwicklung fort, indem sie sich bemüht, ein Resonanzboden für schwarze Frauen überall zu sein. „Ich fühle mich durch die Musik gestärkt, weil ich alles, was mir widerfährt, in etwas Wertvolles verwandeln kann. Musik hilft mir, den Wert dessen zu erkennen, was in meinem Leben passiert.“, erklärt sie. „In der Musik steckt ein Geist. Sie ist eine Kultur, und ich bin Teil dieser Gemeinschaft und trage mit meiner Geschichte dazu bei, dass wir miteinander verbunden bleiben.“

Kalita are proud to unveil the first ever compilationvfocussing on the phenomenon of 'Burger Highlife', avcrossover of West African melodies with synthesizers, discovand boogie that took over Ghanaian airwaves during the 1980's and beyond. Highlighting key recordings fromvgenre-defining artists including Thomas Frempong andvGeorge Darko, as well as more obscure sought-after tracksvby elusive bands such as Aban and Uncle Joe's Afri-Beat,vKalita come to the rescue of audiophiles, DJs andvmusic-lovers alike with 'Borga Revolution!' Spread over avdouble-LP housed in a gatefold sleeve. Accompanied by av16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

Label favourites Balearic Ensemble return to the fore following last summer's spectacular 'Cachonda' EP, this time with a 12" treasury of wonderful, eclectic dancing music of the highest balearic order. They're joined by Das Komplex, notable for recent excursions on DJ Harvey's Mercury Rising, to round out their five-track excursion for the label: this is the Mediterráneo EP.

Opener 'Pitiusas First' sets the tone with dizzy, downbeat percussions as a bass guitar skates and glissades underfoot; soaring, starry-eyed synth work and Latin organ stabs in concerto. This homage to the islands and islets of Ibiza comes with a note of melancholy, or nostalgia: waking up to find that your best years might have evaded you - and celebrating the fact. It's a maturing of the Residentes sound in a way we haven't heard before; a gorgeous moonlight serenade, the last tango on Formentera, and a tip for orange-tinted sunsets all summer long.

Second track 'Almendros y Drones' takes us deeper into the throes of that distinctive Mediterranean sound with dizzying arpeggios and analogue bass over teetering hihats and fizzing synths; it's an eruptive, volcanic beast of a track that will take liberties with your dancefloor. Over-the-top filter action and driving piano perforations, crashing snares and resonant howls, Almendros, Drones.

The third offering is 'Mojada', taking cues from classic deep house with its deep-set bassline and modular squeaks. It's a slow burner, an aquaplane on Eivissa, cueing 303 squelches and 90s drum machine riffing before its eventual, explosive peak.

After Mojada we enter the chugging, gritty realm of Das Komplex's remixes. He refashions the heady throes of 'Mojada' into a driving, churning unit; percussions, distorted into infinity; basslines bent and buckled into submission; slabs of piano lathered with space echo delay. Wonky late-nite dancing music at its very best.

Extra treat: Das Komplex also left us his 'Pineapple Bonus Mix' of Mojada, which is a more sunset-suited affair altogether. This special mix lasers in on that exuberant piano part, then plays with percussions and dynamics to create a full-on dub version of the original track.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

The album, which features some incredibly exciting and varied names including neo soul up-and-comer Greentea Peng, American jazz & soul vocalist Lady Blackbird (on ‘Sunlight’) and British blues vocalist Natalie Duncan, shows off both the rich history and calibre of Goldie and James Davidson’s individually but also how they can create something together that’s so cohesive and forward thinking. The sound the duo have been able to create is also partly due to their geographical locations over the past 18 months, bouncing ideas between Davidson’s studio in Bournemouth on the south coast and Goldie’s house in Phuket, Thailand; showing two songwriters and producers at the top of their game responding to a year and a half in very different atmospheres but similar trying circumstances.
Lead single from the album ‘Dassai Menace’ (released with double A-side ‘Fathoms’) was picked up by Virgil Abloh who used it to soundtrack his Louis Vuitton SS22 fashion film ‘Amen Break’ (watch here), with Goldie walking in the accompanying catwalk show. Goldie will also be in residence throughout the month of February 2022 on BBC Radio 1 alongside the likes of world renown DJ’s Sama' Abdulhadi, Folamour, Or:la, LCY and Scratcha DVA.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

The past couple of years have provided an ideal breeding ground for periods of reflection. Of rediscovery. And for the reignition of dwindling flames. Perhaps this is why the meeting of Tom Churchill and 2Sox is the perfect match at the perfect time. A collision of minds stoking a fire that has sizzled away into a 12” slab of choice cuts. Introspective and deep, yet not forgetting what a dancefloor wants.

Tom started making music in the mid-90s, inspired by the house and techno records he was buying as a teenager growing up in Cardiff. Co-founder of cult 90’s label, Headspace Recordings and sister label Emoticon; Tom and partner Raeph Powell were responsible for some faultless releases in the 00’s. More recently, Tom has been one half of The Nuclear Family; a production, label and events project launched with Laurence Hughes in 2013. Much of what Tom has put his hand to over the years has been hot in demand. Incredibly, this is his first physical, solo release under his real name since 2002. Despite the 20 year gap, Tom’s enthuse for all things deep and electronic has arguably never been stronger.

“These tracks have been heavily inspired by two things - reconnecting with my surroundings and rediscovering my record collection - both of which have been made possible by the events over the past couple of years.” Tom says.

“As well as spending more time outdoors around my home on the west coast of Scotland, I recorded a lot of DJ mixes and radio shows during the first lockdown, which meant I spent a lot of time digging through older records. This reignited some creative energy that had been lying dormant for a while.

Before 2020 I’d been sporadically using a rented studio space to make music, but in that Spring I put together a basic, compact setup so I could work at home. My influences are pretty clear with these tracks - I’ve drawn on the palette of classic deep house, 90s techno and electro throughout - but while there are some retro elements and familiar sounds, I’ve tried to put my own twist on things. Being surrounded by nature and working exclusively on headphones has made for a more intimate sound, and these tracks are the most personal I’ve ever done.”

repressed !

Emotional Rescue celebrates a decade of reissues by again pulling deep from the well with the first of several French avant albums over the coming year. The self-styled "Ethno-Industrial" Vox Populi! present their 1989 Aither album, remastered and repackaged with love nearly 30 years later.

Initiated by artist Axel Kyrou in 1982, Vox Populi! was soon joined by long term collaborator Pacific 231 on a series of coldwave/industrial cassette only recordings. Things changed considerably, however, with the meeting of the siblings, Mitra and Arach in 1984.

The consequential use of "traditional" instruments and, especially, his wife Mitra's Persian folklore vocals gave a specific tonality, incorporating the band's expanding passion for oriental sounds, electronics and psychedelic music.

Involving numerous musicians and friends in often-spontaneous studio sessions, the melting pot of varied cultural backgrounds added ethnic, electronic, concrete music, funk, dub and experimental flavours.

This feeling of the subjective absence of the artist was achieved via a communal way for making music, but still with an aim to entertain while leading the listener to experience something unique - mind elevating, non-egotistical, ethereal music - all pushing the intellect towards a more artistic transparency.

Welcome to Aither.

Adeen Records comes with its series of funk, soul, dsco and jazz only edits label called The Bird. And it's first releases comes from label head Camille and Spanish graffiti artist and dj Cad73, and edited by DJ Boring. These two 7" gems came from each selectors childhood memories from living in Detroit and Barcelona respectively. While Camille draws such tunes as "Stop Bajon and Carino" from influences Detroit, Cad73 pulls "Shakedown and The Vulture" from early radio and parties growing up around Baecelona. Already a staple series amongst Adeen's catalog, This "The Bird" series may be the label we've been craving.

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'.

Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku.

'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government.

For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version.

On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.


• Half-speed mastering at Abbey Road Studios

• Repressed with an OBI strip as well as a deluxe tip-on sleeve

• One of the finest South African jazz albums

• "This is the LP that every jazz fan has been waiting for" Ray Nkwe

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

Greg Dowling and Shane Johnson return to the Go Deep label for their third album, ‘This Bit of Earth’. Beginning work in the relative normality of 2019 and finishing over the strange summer of 2020, the resulting music mirrors the thoughts that such upheaval brings out - our world and our place in it - while also functioning as a kind of travelogue of journeys past and planned, real and imaginary.

Mixing samples with modular synths, programmed drums with jazz loops, and quirky plugins with outboard gear, the album ranges far and wide while retaining a warm, natural core sound.

The title track opens proceedings on an ambiguous note. A simple double bass motif weaves around a misheard vocal sample, layers of piano and vibraphone take up the call, and the whole thing gradually spins off axis to a distorted, disjointed finish. ‘Suburban Key’ follows on a groove of busy drum work and deep sub bass, the stately piano and strings setting the stage for an undulating synth solo.

Further in, ‘Alice on Jupiter’ takes a deep breath and blends field recordings, gently swelling pads, modular bursts and a recurring picked melody.

‘Back Trace Dub’ strolls the imagined streets of Irish author Kevin Barry’s ‘City of Bohane’, noting the “taint of badness” in the air and revelling in the tense, dub-noir atmosphere. Later on, the spoken word intro of ‘I Could See’ expresses the dread of confinement and the relief and ecstasy of release, a theme the music reflects as it steadily builds to a joyful climax.

And closing the album on an optimistic note, the languid, emotional Culatra Ferry remembers better, beautiful days in the sun and looks hopefully forward to more.

“Highlights are the stunning sonics of Suburban Key, with its dusty groove and fast paced drums, stately piano, and cinematic strings reminiscent of a Four Hero orchestral masterpiece. High As Scaffold is full of warmth and soul and is yet another example of Fish Go Deep going even deeper into the dark blue waters of their brilliant musical minds.” Ban Ban Ton Ton review, Japan

“So good. Real beauty” Laurent Garnier, Radio FG, France

“Really liking this, would love to support on radio” Colleen 'Cosmo' Murphy, WorldwideFM, UK

“Lovely album” Osunlade, Yoruba Soul, US

“Very very nice album...love the new directions here” Charles Webster, Openlab, SA

“Absolutely beautiful piece of work” Darimont, RWAV, Germany

“A lovely LP of eclectic sounds” Jimpster, Freerange Records, UK

“Delightful album this. Very much appreciate the musicianship and we need that in the world right now as the commercial music world starts to fire up its nonsense for the new beginning” Vince Watson, Yoruba, Netherlands

“Such a fucking great body of work, and on par with ANY of the great albums I've listened to recently” Billy Scurry, Ireland

“There’s some REAL magic here. Possibly the deepest year from this duo” Charles Levine, Soul Clap, US

“A fabulous surprise. I'm sure if he were still alive Jose Padilla would have hailed this as his number one album of the year, it certainly is mine” Steve Miller, Afterlife, UK

“Great album... will play in next shows” Franck Roger, Real Tone, France

“Beautifully produced and great atmospherics” Ashley Beedle, Black Science Orchestra, UK

Radio and DJ support from Ron Trent, Hector Romero, Ame, Cian Ó Cíobháin, Bill Brewster, DJ Sprinkles, Harri, Honey Soundsystem, Alexkid, Moodymanc, Hifi Sean, Kassian, Freddie Garcia, 6th Borough Project, Stuart Patterson, Lars Behrenroth, Fred Everything, Mark Roberts, Cut n Shut, Will McGiven, Stefano Tucci, Tristan Jong, Matthias Schober, Trevor Fung, Ben Davis, Max P and more.

Alien Imprints is back with their second release which includes some well-respected artists along with rising talents showcasing their skills.

False prophets - Relpek A.K.A. Kepler is a DJ/producer who hails from the North of England. His offering is a crisp electro track that generates a calculated bass, analogue stabs and phrases with sweeping synths.
Spider Ink - Ollie Drummond, a respected DJ from London gives us a proper tech house number solid 4:4 beats, crafted basslines and pad effects that follow with acid riffs.

Thibo - Bronxy and ETRE from the Ukraine collaborate on this deep house affair, with soulful grooves, smooth deep bassline and "spacey vibe" pads create a cool hypnotic flow.

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand, and this EP is in particular demand. They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

Deluxe Edition is on 180g transparent green vinyl, gatefold sleeve, printed inner-sleeve.

Los Angeles-based experimental producer Al Lover will release his new studio album ‘Cosmic Joke’ on May 27th via Fuzz Club Records.
A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future. Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

At the vanguard of Greek electronic music, Anatolian Weapons, an alias of Aggelos Baltas, has garnered praise from the likes of Lena Willikens and RA. This is a deliberately dancefloor oriented release, with a host of longacid laced tracks, and some surprises. The titles offer a subtle nod to a recently passed DJ and polymath, and the remixes give a fresh feelto Aggelos' tracks, with Serbian selector AASKA and Coma World on duty.