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With the release of Piero Umiliani’s ‘Discomania (Jolly Mare Lifting)’ Four Flies launched RELOVED, a vinyl series where contemporary DJs and producers rework tunes from Italian golden age soundtracks and library music.

The aim of the series is to spark a conversation between past, present and future, joining the dots between Italy’s great film and library-music tradition and a global scene of forward-thinking producers - the names confirmed so far include Dengue Dengue Dengue, Free The Robots, Jolly Mare, Koralle (feat. Illa J), Fratelli Malibu, Mounika, Oké aka Deda, Luke Beats, Ollie Teeba of The Herbaliser
and Deca.

First in line is the 7” ‘Autumn 2001 / Autumn 2021’, with an original track from Italian jazz pianist and electronic music pioneer Gianni Safred and a rework from musician, DJ and beat maker Free The Robots.

‘Autumn 2001’ comes from the 1978 Italian library LP Futuribile (The Life To Come), a retro-futuristic masterpiece by Gianni Safred, one of the great pioneers of Italian electronic music.

Chris Alfaro, aka Free the Robots, is a musician, beat maker and DJ known for his ability to jump in and out of different sonic worlds, creating a unique signature sound blending electronic, hip hop, jazz and psychedelia.

Portuguese label Kokölò returns with Rave Child's ''The Calling''; EP, backed by a remix by .VRIL. In 2022 the label made an immediate impact with its debut release — from anonymous artist and founder Rave Child — gaining support from the likes of Laurent Garnier, DJ Sasha and Patrice Baumel. Now, after label event programmer Alfonsvs made his first outing on the imprint with ''Bad Habits'' EP supported by a stellar remix from Berghain resident Answer Code Request, Rave Child is back with a record packed with his young-soul signature sound: a naive/fragile, sometimes hysterical, interpretation of what would work well on a rave.

A triple threat of signature Reflex Revisions for the third release on the fully licensed Discolidays. Bruise’s anthem ‘When Pianos Attack’ is first up for an expert reworking from the French maestro, before Lou Hayter’s cover of the Steely Dan classic ‘Time Out Of Mind’ gets Reflexed twice in a row in dub and vocal mix form.

DJ Support:

Dave Lee / Gilles Peterson / James Lavelle / François K / Glitterbox / Skream / The Blessed Madonna / Bill Brewster

There's more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local- turned-global style of dance music. In DJ Black Low's musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there's a new dimension to Black Low's now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs. The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you're somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus. Production collaborators among Black Low's Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.

Liturgy transcends the traditional parameters of what constitutes a rock band. Founded by Ravenna Hunt-Hendrix, Liturgy is a part of a shared discipline of composition, art, and philosophy that thrives on exploring the spaces between. Liturgy"s signature use of rhythmic complexity and repetition are exponentially amplified to maximalist proportions on 93696. Along with guitarist Mario Miron, bassist Tia Vincent-Clark, and drummer Leo Didkovsky, Hunt-Hendrix utilizes Liturgy"s past ruminations on burst beats and circuitous phrases as colors to paint rich murals that overwhelm and invigorate the senses. 93696 is the purest synthesis of the diversity of Liturgy, a sprawling and monumental double album exploring religion, cosmic love, the feminine, and metamorphosis while manifesting the ecstatic with breathtaking grandeur. Liturgy is the project of Ravenna Hunt-Hendrix, whose yearning, energetic "transcendental black metal" exists in the space between metal, art music and sacred ritual. Its current lineup features Mario Miron (guitar), Tia Vincent-Clark (bass) and Leo Didkovsky (drums).

Liturgy transcends the traditional parameters of what constitutes a rock band. Founded by Ravenna Hunt-Hendrix, Liturgy is a part of a shared discipline of composition, art, and philosophy that thrives on exploring the spaces between. Liturgy"s signature use of rhythmic complexity and repetition are exponentially amplified to maximalist proportions on 93696. Along with guitarist Mario Miron, bassist Tia Vincent-Clark, and drummer Leo Didkovsky, Hunt-Hendrix utilizes Liturgy"s past ruminations on burst beats and circuitous phrases as colors to paint rich murals that overwhelm and invigorate the senses. 93696 is the purest synthesis of the diversity of Liturgy, a sprawling and monumental double album exploring religion, cosmic love, the feminine, and metamorphosis while manifesting the ecstatic with breathtaking grandeur. Liturgy is the project of Ravenna Hunt-Hendrix, whose yearning, energetic "transcendental black metal" exists in the space between metal, art music and sacred ritual. Its current lineup features Mario Miron (guitar), Tia Vincent-Clark (bass) and Leo Didkovsky (drums).

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

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

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

ALEXANDER SKANCKE´s exciting debut ep for SLICES OF LIFE, including a collaboration track with FOEHN & JEROME.

Alexander Skancke is a Berlin-based DJ, producer and rising talent within Europe´s underground house scene. The young Norwegian has made a sizeable impact on the electronic music scene, dating from way back to his early releases on Neostrictly, to the internationally respected releases on his own label Quirk. Entrenched in his love for vinyl and analog productions, Skancke is imbued with a passion for the very roots of house music, but has also kept his ears open far beyond the boundaries of electronic music.

Skancke’s excitement for analogue is reflected in all aspects of his life: from his work at Bikini Waxx (a record shop in Berlin specializing in second-hand vinyl), to his fascination with vintage studio gear, all culminating in his music having a wonderfully raw and organic feeling.

The 3 tracks that make up his “Public Trouble” ep showcase Alexander Skancke´s knowledge of the history of dance music without copying the originals, but instead creating his own unique signature:

The A side - “This Go This Way” sends you on a crazy acid dream, driven by a hypnotic unstoppable beat with Alexander Skancke´s voice appearing out of the ether, before vanishing away.

For the B1 track “Wind Sync” Alex teamed up with his label mates and renowned DJ- and Producer-Duo Foehn & Jerome at their studio in Berlin. Together they've masterfully crafted a light footed minimal house track with a slightly melancholic touch.

The EP´s title track “Public Trouble” truly shows off Alexander Skancke´s love for deep minimal funk: An ultra groovy piece of music based around tight beats and warm basslines, topped off with a funky stripped back synth line.

Ground Groove, the third full-length release from the LA-based, Iranian-American producer and DJ, Maral, begins with an invocation: the sprawling, achingly heavy Feedback Jam opens the floodgates of history. Conventional (linear) spacetime collapses, crushed beneath the track’s lumbering 4/4 heartbeat and successive waves of distortion. As each wave recedes, samples trickle forward in the mix — seeking, perhaps, to fill the void. Voices and instruments rise and fall in uncanny reverse. Overlapping, implied melodies flicker into focus, then flit away. Feedback Jam is at once an initiation ritual, and a thesis statement for the record that follows.

Drawing upon a vast personal archive of Iranian folk, classical, and pop recordings (some sourced from mixtapes made by her parents in the eighties/nineties), Maral presents, on Ground Groove, a further refinement of the signature “folk club” sound she developed as a live DJ— a sound she would later codify on Mahur Club (2019) and Push (2020). By collecting, dissecting, and re/presenting sonic fragments from Iran, Maral practices a kind of dance-floor ethnomusicology. The subject of her inquiry: Iranian


culture and contexts, throughout history and in the present. But, crucially, this inquiry is instantiated within and throughout the body of the listener, whether this listener is dancing in the club, or riding the train, nodding along with headphones on.

Maral speaks of being in collaboration with her samples, treating each as a distinct bandmate, often consulting with an artist’s catalog (or even a single recording) as one would a trusted creative partner. In so-doing, Maral claims to seek to transcend the self. In this regard, her output neatly triangulates contemporary dance and heavy music with much of the traditional religious music that she samples. Broadly speaking, each of these idioms addresses a desire —shared by audience and performer alike—to transcend the self through volume, repetition, and movement.

Having, in her youth, studied the Setar under Nader Majd (the founder of Virginia’s Center for Persian Classical Music), Maral cycled through various genres (ex: punk, emo, dub) in her adolescence and early twenties, all the while expanding her knowledge of, and appreciation for, Iran’s diverse musical traditions during regular summer trips to Tehran. In college, Maral taught herself to make beats with a ripped copy of Ableton (which remains her DAW of choice), eventually transitioning to playing and hosting various club nights. Forever abiding by an autodidactic, DIY impulse to create art and foster community, Maral relocated to Los Angeles in 2013, where she quickly immersed herself in the city’s numerous overlapping music scenes.

Collaboration (beyond sampling) has proven an important component of her process, with notable spoken word contributions from the likes of Lee Scratch Perry and Penny Rimbaud, as well as a 2021 Panda Bear collab track (On Your Way), which the Animal Collective founder co-produced. Maral is equally attentive to the visual components of her records (album art, music videos, etc.), drawing upon the work of peers and friends for inspiration.

Indeed, the genesis of Ground Groove can be traced back to an audio-visual collaboration between Maral and the artist Brenna Murphy, originally commissioned for the 2021 Rewire Festival — a project that would eventually serve as the album’s foundation. Tracks eight through eleven on Ground Groove comprise Maral’s half of this installation, with tracks one through seven composed afterwards, inspired by the fruits of Maral and Murphy’s collaboration. Murphy’s visuals will be released alongside Ground Groove as a visual accompaniment. Additionally, Murphy designed the album’s art, directed the video for the lead single (the aforementioned Feedback Jam), and is featured on track six, Shy Night.

Composed largely on Ableton, Ground Groove features more frequent and more prominent live recordings from Maral (guitar, bass, and vocals) than either Push or Mahar Club. The cult favorite Roland MC-909 groovebox rears its head on Mari’s Groove. Mixed by Trayer Tryon (Hundred Waters) and mastered by Daddy Kev, the attention to sonic quality on Ground Groove constitutes another significant step in Maral’s development as a studio artist.

Ground Groove’s eleven tracks are “grooves” in the obvious sense, in that they are each driven by a persistent, propulsive rhythm, but the album’s title may just as well suggest the glacial passage of time—the scope of human history, in which individual voices, like streams, carve paths (impossibly) through earth and stone, winding their way to the vast sea of the present.

Electronic pioneer, Christopher Just's initial music came out in 1993 under his own name and various pseudonyms, like "DJ One finger" and "ilsa Gold". The "Petra" project was originally released in 1996 showcasing the ferocious sound of 90's analog hardware. Over 25 years later Dax J presents his colossal remix of the relativity unknown and now unearthed gem that went under the radar for so many years. The B - side of the record comes with a signature Dax J deep percussive groove, "The Train

Pop Matters said that "Nnamdï's sounds are a testament to the continual melting away of genre distinctions in the current era of (particularly Black) music." His extensive catalog includes covers significant ground in hip-hop, pop, rock, punk, orchestral, and experimental music. In 2021, NNAMDI expanded his freewheeling sonic explorations for an entrée into the world of pop-infused dance and electronica with the release of the Are You Happy EP on November 12, 2021. Notably, Are You Happy is the only NNAMDI project to date that he did not produce, perform, and record by himself. To the surprise of his fans, NNAMDI bucked that self-imposed precedent to work with Chicago producer Lynyn. Lynyn is the alias of composer Conor Mackey, NNAMDI's longtime bandmate in the jazz-fusion quintet Monobody. Are You Happy released shortly before Lynyn's 2022 debut electronic LP lexicon (Sooper Records), which went on to garner significant acclaim. DJ Magazine said that "lexicon is likely to set him apart as one of IDM's next visionaries".

Dutch Uncles, Manchester"s much-revered electro art rock quartet, return with their long-awaited sixth album, True Entertainment, on Memphis Industries. Taking inspiration from Yellow Magic Orchestra, Prince, Steely Dan, Ennio Morricone, The Blue Nile, Kate Bush and Roxy Music, "True Entertainment behaves like it knows it"s been away for some time, and doesn"t apologise for that," jokes vocalist / lyricist Duncan Wallis. "Ultimately, it"s written with the mindset that on our sixth album, we"re only in competition with ourselves when it comes to finding satisfaction in our craft." True to this mantra, True Entertainment bears some of the most delightfully fun Dutch Uncles music to date; paired with some of their most existential and introspective lyrics. What is success? Am I enough? How can I better? (and can I afford to be better?) The title was a DJ name bestowed upon Wallis by guitarist Peter Broadhead. Wallis, an in-demand DJ and compare in his native city, wrote the acid house and Sign O" The Times-era Prince-influenced title track when reflecting on the awkwardness he sometimes feels when he"s recognised as the singer in a band while working one of his many public-facing jobs.

If there is a space in this place for a voice of this age, it’s still sealed in wax. Above the din of the noise a vocal appears, in calm
reflection, it delivers a message of hope in a time of despair. Ivan Ave is back. A lot has transpired since we last heard him on a
full-length project, there's a lot to ponder as we get into his latest LP, All Season Gear.
On his 4th solo album, Ivan offers a glimpse into the various seasons he and his friends went through in the last three years. All
Season Gear was recorded on highs and lows through a pandemic, through healing, falling in love and observing the chaos that
is the hyper-textual information age. Lyrically an all-weather-proof record, breaking even with with a joie de vivre, backed by
production from the likes of Sasac, Mndsgn, Like, DJ Harrison and Ivan Ave himself.
The Norwegian rapper’s sixth solo release percolates between desperation and buoyancy, through a tide of beats, as Ivan taps
into his signature observations. His lyrics are an astute surveillance that exploit the mundane in a pensive exploration, touching
on hedonistic heights, with a constant focus on the beauty of the everyday.
The Mutual Intentions mouthpiece breezes through a record of wistful sonorities brought together by the larger Mutual intentions
collaboration. Keys swell and bass undulates, as the production convene on vintage aesthetics, repurposed for air-pod traveling.
It extends the sonic palette of his last LP, Double Goodbyes, and plunges the sound deeper than ever before.
Ivan Ave reinforces our vision of him as a voice for our time. A philosopher’s touch-stone in a world where the incongruous prevails over the sincere.

Repressed again. On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recent signees to Capitol Records; a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

2023 Repress

TRP005, 'I Have A Question', explores subtler and slower tempo variants on Trip's sonic signature than the tougher-sounding 004. In addition to another modular cut from Nina Kraviz, 'Let's Do It', and tracks by Bjarki and Population One (Terrence Dixon), TRP004's K-HAND (Kelli Hand), Roma Zuckerman and Vladimir Dubyshkin all return, while Fred P and Dommune's DJ Sodeyama both make their label debuts. Kraviz's edit of Fred P's Higher Mentalism gets its official release following its appearance on her DJ-Kicks mix in early 2015.


Another highly anticipated stellar package to round off a seminal first year for Nina Kraviz Trip label.

Repress

Palms Trax signals the arrival of his new label CWPT with ‘Petu’, a new single featuring South African vocalist, Nonku Phiri. Originally debuting in dub form during the Berlin-based DJ and producer’s set at The Music Locker as part of Grand Theft Auto Online, ‘Petu’ re-emerges here as a soulful collaboration, neatly complimented by a wide-eyed take from Masalo.

Initially written as a slow-heating instrumental to connect the various musical dots across a DJ set, Palms Trax nonetheless had a vocalist in mind throughout, a fresh voice to lend ‘Petu’ universality and energy. Introduced through mutual friend Esa, Johannesburg’s Nonku Phiri draws on her signature style influenced by vintage Afropop styles and folk traditions, delivering a smooth and vulnerable tale of desire. Triumphant brass recorded by instrumental collective Jungle By Night adds to the depth of instrumentation and feeling throughout, each element driven by Palms Trax’s ebullient percussion and an altogether celebratory energy felt across both the original and dub cuts.

Closely associated with Dutch dance music staple Rush Hour Records, Masalo subtly raises the tempo on his high-energy rework of Petu, spinning off the interconnected elements of the original into a memorable and gloriously Italo-tinged house trip.

Established in 2021, CWPT will play home to Palms Trax original productions alongside collaborations, mixtapes, new-generation artists and vital reissues. An online blog will feature interviews, reportage and charts exploring the stories past and present at the fringe of Palms Trax’s wide-reaching record collection.

We're glad to welcome St. David in the Groovin new releases series.
Davide Disanto aka St. David is dj, producer and musician born in Bari, Italy in the early 90's.

His production style is groovy and heavy stomping with classic drums, disco jazz samples and old school Akai Mpc rhythms which perfectly define his classic house signature.
Timeless EP is definitely a great example of St. David house style which is a perfect mix of classic deep-house combined with live instruments. Not to miss !

BITE label head Phase Fatale aka Hayden Payne drops his first EP in 5 years 'Nailed To The Net' and his first solo release on his own record imprint. The Berghain and Khidi resident develops his sound further into the dancefloor and techno sphere while still maintaining his signature post-punk influence. The innovative techno producer and DJ combines his spectrum of dystopian, gritty, industrial electronics with his deep understanding of synthesis and sound design. This sonic approach is all the more exemplified in Rrose's remix of 'Desecrating Vows'. The release finds Payne taking his productions to new levels by including different musical elements such as breakbeats, arpeggiations, and massively layered chordal sequences. Reflecting the last year when he produced it in Berlin, injecting all broken hearted emotions from then, each track contains more groove and nuance while having dense, shoegaze-alike atmosphere and melodies. Even containing distant voice and guitar elements, 'Nailed To The Net' maintains his trademark balance between the dancefloor and his eclectic influences.

blue marbled vinyl /

By now a fabric of the Samurai Music sound, Tensor sees Sardinia's Last Life back for his fourth release for the label. The dive-bomb bounce of Offside opens the EP - hurling out laser-sharp mentasms over a searing groove. Elements adds pace with a driving amen tunnel, pinned down by a swaying half-step kick formation and a vocal insignia. Title track Tensor combines many of Last Life's signature talents perfectly - honed amen edits, a lush percussion loop, and kick drums sitting perfectly - a lesson in propulsion. EP closer Incubus has been receiving the most plays by DJs - a flexing groove, dripping in menace and raw power.