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DJ Godfather is going from strength to strength with each release, turning this EP "Keep My Name Out Your Mouth". Featuring looped vocals from King Saadi and playful lyrics by Lil Mz 313, the Godfather delivers an EP that lands somewhere between a Dirtybird and Dance Mania production with its playful basslines, scandalous vocals and jacking snare rolls.

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

Jungle, an ever evolving genre still rooted in it's birth some 30 years ago. Paying homage to this evolution, E-Beamz presents Continuum-z, 9 tracks of retro-futurism crafted by some of today's leading artists.

Featuring a core of UK talent such as Tim Reaper, Mani Festo and Denham Audio as well as a smattering of international artists from places as far afield as Brazil & New Zealand, Continuum-Z encapsulates Jungle's enduring global appeal, with the genre in ruder health than ever before in 2022.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music. The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it. RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out. This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Sam KDC presents the first Auxiliary 12" EP of 2022, entitled Shedding Skin, a varied four-track odyssey that goes far and beyond the conventions of techno and 170 bass music. The EP opens up with the ominous underworld tones of Silver Serpent. Menacing snarls of metallic synthesis set against the backdrop of frenetic hi-hats and slow pulsing heavyweight bass make this a surefire way to inject something unique into any DJ set.

False Idols then takes things a step further with its relentless percussive torrent, set against a sea of uneasy undertones that wash in and out of proceedings. Prophecy Unfurling introduces breakbeats to devastating effect, as the journey continues underground. Dystopian pulses of synths interacting with the breaks play off each other in a distinct fashion that has become a trademark of Sam's after 2019's Omen Rising LP on Horo.

Finally, Sam brings it all to a head with the uptempo frenzy of Bloodstone. It's been a while since Sam has toyed with this tempo, but Bloodstone shows just why he's revered as one of the true innovators of 170. An almost playful bouncing ring-modulated bass tone sets the scene for Sam's now trademark ominous dark palette to paint a truly captivating picture for the listener. Shedding Skin shows an artist at the top of his craft truly doing his own thing.

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

This crazy project brings good vibes... Many generations and loads of smiles ! These 12 tunes have been patiently put aside with musicians who patiently wait for this project to come out. I must thanks them... And to thanks them in addition to the LP comes an insert with a crazy comics by ExpExp and.. on the other size a board game to play (maybe with your exp fenwick dragsters ^^ ) … Ah about the music : it's a full pumpin selecta, with some old school fellow of the genre like X-Tech, Crystal and Fky, some middle ages not-so—old but so-soso like Little Guy, Tournevis … or Matelk and Protokick .. or more fresh like Pandro... Through … this is a bible to me. And I'm really happy to deliver a beautiful project precise in the music, the cut, the mastering, the visual and all that.... Enjoy dancing, partying and stand up straight towards the cops !

C-L-A-S-S-I-C library breaks and beats set of super-heavyweight espionage-funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Background Action from Sammy Burdson, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

Background Action’s first side is all Blaxploitation wah-wah, funky clav and heavy, heavy drums. It’s top-quality takes on the sort of hard-knocking psychedelic sleuth-funk that the library labels gave us in spades. However, we think the real killers are over on side B. Styles upon styles upon styles is what we have. The trio of swish “Water Pollution” variations are pure gold. The two-part mid-tempo b-boy drumathon “News Background” is nothing short of epic whilst the sensational “Kabul Trip A” and “Kabul Trip B” are two different takes on some tough funk, street jazz style with some dope organ, bass and drum sounds. In short, this is a must for both DJs and producers.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Background Action has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

Oftentimes in this busy and chaotic world it’s challenging to draw a parallel between two congruent events. In this case drawing its inspiration from Detroit’s meteoric rise from the ruins
of the past, BerettaMusic a label founded in Detroit in 2002 who took a several year hiatus is back in a big way, also rising from the ashes like it’s birth city has done.

Ryan Sadorus who co-founded the label with Brian Kage delivers some next level quirky Detroit house jams. Already getting spins by local Detroit DJ’s and the verdict is in and the tracks are
dance floor ready and sure to get people moving. The release also features vinyl artwork by renowned midwest artist Jon Griffin featured on full color vinyl jackets.

First off is “Slippah”, a shuffling and quirky bass heavy stormer. The track builds through various levels dropping into syncopated and distorted vocal riffs, lifting its way into some pulsing
synth stabs with perfectly timed filtering which lends itself to the overall energy rise through the track. With a huge breakdown and vocal stab sequence, it’s sure to have them moving! “Hit
'em with da slippah!”

Expansive is a chugging deep house tune with atmospheric synth business to really set the mood anytime of the night. A deep bassline carries the tune along into a breakdown complete with a quote from the man himself, Carl Sagan.

Brian Kage delivers a stunning remix of Expansive, imprinting his own defined style he’s known for as he keeps things level grounded with evolving Detroit-inspired soulful elements.

Last but not least, “Flexxin” is ripping speaker work out of epic proportions. Another quirky, bass heavy jam that will definitely wake up the dance floor. Written and Produced by Ryan Sadorus, mixed by Brian Kage at The Bear Cave in Detroit Mastered by Dietrich Schoenemann Label art by Brian Kage & Juju / painted original portrait art by Jon Griffin Special thanks to: Juju, my parents and family, Brian Kage, Ronnie Perez, Sims Cabrera and the entire Guam crew, Norm Talley, Dietrich and to you for your support! - Ryan Sadorus

Bev Lee Harling returns with her first solo recording in almost a decade. She won the hearts and musical minds of DJs across the board with her 2012 debut LP, Barefoot In Your Kitchen, which BBC 6Music's Gilles Peterson made his Album of the Week. Now the gifted singer, violinist and composer returns with twelve beautiful pieces of music that tell a very personal story of the years since.

Having swapped the busy streets of North London for the calmer shores of Hastings in Sussex to bring up her young family, it's fair to say that Bev's priorities might have changed somewhat over the past few years, but the music was never far away. Her new environment, and musical family (including multi-talented partner and album co-producer Frank Moon) added plenty of fresh inspiration to her recordings, and we're very excited to share her new album, entitled Little Anchor, with you this Autumn.

The album is in some senses a travelogue, a 9 year journey of a creative womannavigating the landscape of parenting. Each song is a snapshot taken at a differentlocation in time, in a world where finding balance between creative freedom and motherhood is still a struggle, from the uplifting and euphoric Beautiful Life, to the heavy and harassed Only Got A Minute.

Between the unexpected joys of parenting, grappleswith mental health and feelings of inadequacy, and fighting for every second ofcreative time while slowly accepting a life very different to the one that existedbefore, this unedited family album emerged bursting with quirky childhoodmemories, dark musings and celebrations of musical passion and legacy.

Each song carries breakthrough personal moments in rebuilding strength as an artist, as a person, as a parent. Even down to a very emotional moment with Ray Davies of The Kinks, during a songwriting retreat, where album closer This Violin String, a deeply personal ode to her recently departed mum, was written…

"Everyone turned up writing on guitars and piano and I just had my battered old violin. I felt totally out of touch with my former confident musical self and had zero confidence in what I was doing after an intense period of car crash parenting. I wrote it, performed it on the same day and then sobbed my guts out in front of a bunch of total strangers (sorry Ray!). Something shifted for me in the act of being quite so vulnerable though and I found my mojo again in writing solo with my violin."

The personal nature of this record is self-evident, it bursts through every note and word in each song. We're very excited to be able to share such a special album,afresh foray into the always unpredictable, experimental and playful world of Bev Lee Harling.

C-L-A-S-S-I-C library breaks and beats set of heavy drums and louche funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

As a single LP, Dramatic Tempi / Larry Robbins Background Rhythms is two distinctly different collections of music. The first side, Dramatic Tempi, is made up of four tracks each from Sammy Burdson and Klaus Weiss.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

About as cult as it gets when it comes to library music legends (German or otherwise) Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Having started his career at the age of 16 as a jazz drummer, the Klaus Weiss trademark electronic sound is unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

The second side is both titled and also credited to Larry Robbins Background Rhythms. We have to admit to being stumped as to who Larry was, but we don’t think it’s too much of a stretch to assume it might well be yet another incarnation of Gerhard Narholz’s.

First up from Dramatic Tempi are the phased, gargantuan hip-hop beats of Sammy Burdson’s impeccable “Pop Waves”. This is otherworldly funk on a whole new level. Hearing is believing. The magnificently titled “Cyclodrom” is up next, a beast of booming bass and wah wah guitars over frenetic funk drums. “Devils Drive” is dramatic, blaxploitation street funk with rolling, pounding drums. “Crime Ways” is an acid-squelch, slow-pace neck-snapper.

Klaus Weiss starts by askings us “Is It Hip” and we can only answer “yes it is!” to the clean, skipping drums, booming bass and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. This is just horizontal soul perfection. “The Camp”, propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of “Tomorrow”. It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, “Rhythm Trip” presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Lush.

Larry Robbins Background Rhythms is a lighter, poppier affair, but it’s not without its drum-heavy bangers. “Vox Pop” and “Pop Phase” each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. “Pop Twang” is a short and sweet beat-heavy number that gives way to the fantastically out-there “Canned Pop”. We‘d love to know if this was ever actually licensed for something! The final seven tracks are a set of 1-to-2 minute “Percussion Takes”. All compelling, and all equally useful for any number of production needs. Get sampling.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Dramatic Tempi / Larry Robbins Background Rhythms has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

A Series Of Rare And Sought After 'Golden Era' 1960s/70s Brazilian Dancefloor Essentials For DJs And Collectors Previously Unreleased As Singles Or Only Available On Quieter LP Pressings Mastered Cut At High Quality & Packaged In Lovingly Produced Brazil45 Sleeves, Key Track From Their All-Time Classic Self-Titled 1975 LP On Som Livre, Lush Percussion Laden, Rhodes Driven Jazz-Fusion Groover b/w "America Latina" Taken From The Soundtrack To The Rede Globo Soap Opera "Selva De Pedra', Released On Som Livre In 1972, A Cheerful, Upbeat MPB Song With A Killer Chorus Drop

Finally the debut full length LP from Aeon Seven is upon us!

After a production career going back to the year 2000, this French maestro has been a creative force in all areas of production, DJing and animation.

First gaining some serious attention from the funk/breaks community worldwide with his exceptional Funky Furious EP (2005), he has gone on to produce a clutch of incredible mix tapes that beautifully reveal his deft touch on the turntables and in the studio, he's written a couple of singles for 45 Live Records and produced some slick DJ tools with the Thundercuts series on both 7" and 12".

Throughout all this time Aeon Seven has been honing his craft both musically and visually. His love of the instrumental, and obvious love of soundtracks, psyche and jazz come through in all of his productions. From the downbeat and wonderfully eerie and atmospheric themes of "The Hidden Hand", the cosmic harp led soundscape of the opening track "Outer Space Illusion" to the uptempo and funky blaxploitation vibes of "Mankind Hunt", Aeon Seven's grasp of songwriting is mature and expertly executed.

In 1994, hip-hop was going through an at-times painful growth spurt. Since N.W.A.'s and Ice-T's ascent in the late '80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir 'Nas' Jones had been in full swing months before his smash debut album Illmatic, thanks to Columbia Records' promo machine. From his earliest appearance on Main Source's 'Live at the BBQ,' to his own accomplished debut 'Half Time' (as Nasty Nas, on the Zebrahead soundtrack in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn't have come soon enough. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God's Son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named L.E.S. - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the East... we are BACK.' Illmatic was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of '5 Mics' in The Source - despite an unwritten rule of never awarding classic status to debuts - it didn't go gold until early 1996, and didn't hit platinum status until late 2001. But when you dive deeper that shouldn't be a shock: like Black Moon and Wu-Tang's debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

The new album by B.Visible is a distinctive studio work, which captures the state of mind of searching for something, without actually knowing what. The only thing you can make sense of is that you aren't currently satisfied, and you want a change in your life, even though you aren't exactly sure of where you belong. This music is a quest, a search for a greater range of self-expression. B.Visible captured this very thought-provoking concept by focusing on what really matters, musically, and conceptually alike. He stayed true to his feelings, regardless of judge-ment or other people's thoughts and opinions. In the end, it's all about fulfilling creativity and exploring feelings without boundaries.

"In Between Places", demonstrates his remarkable talent for extending varied elements across the whole spectrum, allowing a wide range of influences to inspire, entertain and captivate the audience in a very spe-cial way. What makes "In Between Places" stand out is the fact that it shows the artist's chops, without seeming to try to hard to do so. It's or-ganic and dynamic; technically accomplished, but also incredibly spon-taneous and one-of-a-kind in its execution. The instrumental is perfectly balanced, allowing B.Visible's expertly interwoven patterns of melody and rhythm to soar through the mix and come alive with raw and thrilling performance.

Ultimately, "In Between Places" is a truly special album, which is rich in terms of sound design and textures, tipping the hat off to artists such as Four Tet, Flying Lotus or Apparat, only to mention a few. This record is a musical journey with a unique twist.


Viennese producer B.Visible is always pushing his craft forward with each concept being an evolution. His music is mutating organically as each project brings novelty but always while blending sharp electronic components with dusty acoustic layers. That duality exists in every aspect of his creative journey with DJ sets revolving around second-hand records and modern-day productions but also his live project offering a whole new dimension and generosity to the audience. B.Visible melts the barrier between analog and digital in a such distinctive and elegant way that it feels natural.

For the second release from Zen 2000, a new imprint out of L.A. focused on supporting and cultivating sounds made by friends wherever they may reside, we present you with another 7-inch of slow-motion burners that crackle like a sparkler weaving through the brisk night air.

Two tracks appear on the the record—classic A-side and B-side on a 45. The lead, “Promise,” is a psychedelic yet spare star-gaze accompanied by airy vocals and a wiggly 303 that's on downers. The Samo DJ remix takes it to a dubby place, some elements submerged in a deep pool, all torqued and twisted, others placed in an enormous cavern, all echoes and clean-lined drums that ricochet off the walls.

For the digital edition, there are two extras: an extended dub from Samo as well as another cut from Damon, this one a piano-accompanied glide through sun rays high above the fluffy clouds.

After some wicked EPs by Yosh, Etch and Tom Jarmey, here is some proper underground UK flavour courtesy of Burnski's Vivid imprint - a new sub label of Constant Sound. The latest one this week is by the enigmatic Tamoshi. On the A side, we have the snarling minimalist roller called 'The System' which is quite reminiscent of early DJ Krust. Over on the flip, hear a convincingly old school junglist stepper, the fittingly titled 'Darkside' that goes all the way back to '95. One for the heads.

Influential house and techno titan wAFF is branching out with his own new label, Nature. As well as donating a portion of profits to animal charities, the label will become a platform for music that in some ways heals us, just like nature itself. The innovative DJ and producer kicks it off with his own new three tracker, Colours.

You name it, wAFF has done it. The UK artist has headlined every major club and festival in the world, has released for labels like Cocoon, Hot Creations, Desolat and Moon Harbour Recordings and always brings his own flavours every time he steps out. It is now almost a decade since he broke through, so is the perfect time to start his own imprint.

Says wAFF, "There’s so much that’s happened over the past two years that I really wanted to create a platform of expression and creativity that would be meaningful not just for me but for everyone. I hope the label will be something that brings us back down to earth, to ground us. Nature is so important to me so I wanted something that felt like an extension of myself and what I care about so much. Nature, provides all life with what we need, nature heals us and that’s something I like to think of with this label. By providing the best quality of music for everyone, it can help with healing."

The stylish Colours is a taught, driving house track with slinky hi hats and rubbery drums. The monstrous bassline bobbles away down low and is sure to lock in any crowd. Django is another inventive groove, with lush claps and a knotted bassline that drives the track along beneath infectious percussion and silky smooth synths. Switchin is the most raw of the lot with its busy leads, razor sharp tech house drums and glitchy effects. Add in some turbocharged chords and you have a sleazy and standout banger.

These are three vital tunes that start off this label in fantastic fashion.

Arriving two years after his last full-length effort ("Jallalla"), Lagartijeando (aka Mati Zundel) once again returns to Wonderwheel with an expansive new album, "La Tercera Vision." A maturation of the Lagartijeando sound, "La Tercera Vision" ("the third vision") sees the Argentinian wade into uncharted, if sonically familiar waters, bridging his Andean inspired electronic-folk with psychedelic ambience, West African instrumentation, and even a few moments of pop melodies. The beauty of Lagartijeando's work is its ability to marry seemingly unrelated styles and sounds to something seamless and wholly original.

"Isla de Sol," the opening track, introduces the album with a taste of Mati's classic sound: Andean pan flute, the familiar chugging rhythm of a cumbia beat, luscious string arrangements, and a sampled vocal. Moving on, "Mano de Fatima" (the project's second single) sees a fusion of traditional Moroccan Gnawa instrumentation with digital cumbia rhythms, featuring the work of Khalil Mounji on vocals and guembri (aka sintir, the three-stringed, skin-covered lute used in Gnawa music). Eva de Marce - a singer-songwriter-producer based in Madrid - takes centre-stage on "Tierra Natal," with her vocals coming through in a rich whisper, singing a melody reminiscent of a lullaby.

At the album's halfway mark, Lagartijeando introduces a new direction for his sound with "Onda," a collaboration with the Brazilian artist Tagua Tagua. An earworm of a melody is sung over a joyous beat that nods to pop sensibilities while being satisfyingly infused with Zundel's sonic DNA. It's a gem of a tune that suggests an exciting new sound for the Argentinian. A few more collaborations close out the album, two with Mexican singer-songwriter Madeleine Bachan Kaur ("Crepúsculo" & "La Montaña Sagrada"), "Magaleña" with Javier Arce, and the album closer "Ware" featuring Sajra. Also included in the album is "Sideral Cumbia," the first single released earlier this Summer, which has seen extensive press and radio support from the likes of Vice / Noisey, Electronic Groove, Sounds And Colours, KCRW ("Today's Top Tune" & "Morning Becomes Eclectic"), and KEXP, as well as landing a spot on Spotify's "Fresh Dance" playlist.

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Strongly influenced by his travels throughout Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

"La Tercera Vision" is due out on Brooklyn's Wonderwheel Recordings October 29th.

Words have a force of their own: a life generated by their meaning and by the imaginary world they refer to; a power increased by the dynamic interplay with other words. Just put 'Moon' and 'Apollo' together, and you'll be almost inevitably transported to mankind's greatest adventure: the Moon landing and, before that, the space race between the US and USSR, the early missions, and the incredible technological challenges faced at the time by astronauts and engineers.

It is against this imaginative background that beat-maker and bass player Moonbrew and organist and keyboardist Paolo Apollo Negri conceived The LEM Tales project. Their collaboration, too, is the coming together of 'Moon' and 'Apollo', and of their two worlds: a sonic universe where hip hop meets funk, pop merges with jazz, old school interacts with new possibilities, and urban and space blend into something new.

The LEM Tales - Chapter One narrates the space race from the American point of view. This vinyl edition, which includes two exclusive tracks (*) not on the digital release, takes us on a journey from "Project Gemini" - NASA's second human spaceflight program - to "Tranquillity Base" (*) (the site on the Moon where Armstrong and Aldrin landed and walked in July 1969) , through tracks titled "Capsule Communicator" (the individual in the mission control center who maintained communication with the astronauts in space), "EMU" (Extravehicular Mobility Unit, better known as the spacesuit), "Saturn V" (a threestage, liquid-fuelled rocket used between 1967 and 1973), and "Mercury Seven" (*) (the group of seven astronauts chosen for the Mercury Program in 1959).

Inspired by iconic images that are part of our collective visual memory, Moonbrew and Apollo's first collaborative effort tries to provide a contemporary sonic representation of what the past means to us today – and, perhaps, will mean to future generations. It does so through a feast of vintage synthesizers, transistor and tonewheel organs, string machines, electric pianos, tube amplifiers, obscure analogue devices, electric bass, and modern samplers.

An old-school hip hop approach was used in the first stages of writing the album: individual drums hits from old, dusty records were first sampled and then physically played on real instruments to create patterns and build up the rhythm section. Moonbrew then laid down the electric bass grooves and Apollo layered his dreamy, evocative vintage keyboards on top. The result is a combination of different styles, sounds and genres that is fresh, original and contemporary while being clearly influenced by many musical legends of the past.

The LEM Tales - Chapter One is released by Four Flies in partnership with Record Kicks.

In 2009, Jalapeno Records was approached with some incredible music by the super talented Mixmonster and Schoolmaster, founding members of the jazz funk band 'The Apples'.

Produced under their 'Radio Trip' moniker, the album was a glorious cut & paste journey into sound, with overtones of musique concrete, brought to life by their fascination with vinyl culture, turntablism and sampling.

The first EP taken from the album featured the up-tempo 'Computers Singing' with its crunchy drums, organic horn stabs, bleep FXs, synth bass tones and a myriad of sampled vocals, all deftly arranged into a constantly evolving b boy battle weapon.

Now released for the first time on a limited 45, this little gem also features the sought-after psych-funk remix by fellow DJ, digger and music archivist Markey Funk, who is another a staple of the Israeli groove scene.

"In the beginning of the 2000's being a producer or a DJ wasn't cool, it was something for nerds. And no one was so crazy to spend all their money in machines. I was going to the clubs in the weekend and when everyone was going to the afterparty i was going to work for a little money to be able to make music, music that I wanted to be play by all these big DJ's I had the chance to see, and I made it."
- Tells Hector Sandoval AKA Tensal Aka Syndromania to me and some other younger DJS (P.E.A.R.L, Jheal Bashta) while we drink a beer in Gijon north of Spain, city close to the town where Syndromania is based. -

After hundreds of records released and the recognition of every single artist of the scene. Few has changed for Syndromania, he keeps getting immersed in his studio with the same love although now with another point of view plus the experience to twist it to the next level.

DJing since 1993 his musical knowledge may be in the top 5 more knowledgeable people I ever met. As you can hear along the 6 cuts of this Sacrilegio EP it's fully rooted on straight messages and codes that have been filling up years of rave culture with a new take on them in order to optimize them for a contemporary rave experience.

From UK infected electro, mechanical-industrial techno music, leaning Chicago house cut to a tremendous take on techno-trance. This record is one of my favorites ever released on OAKS/KAOS and one of the ones that I'm sure that sets the level to inspire many to reinvent and develop our culture.

To be honest Sacrilegio is one of the records I'm more proud about of all in our catalogs. Thanks to Syndromania for this extraordinary piece of art and DJ apex tool which won't ever leave my record bag, neither probably yours."
Respeto.
Hector.

#oftenplusneverminus8

Soul Jazz Records new ‘Life Between Islands’ collection coincides with the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

This is the first release of the brand new vinyl label Terra Magica Rec. which was founded by Munich based music producers and DJs Mirko Hecktor and Tom Sprenger in mid-pandemic times of 2021.

The first release hosts two tracks of the label bosses themselves under their moniker Hektisch Sprengen DJs. In German language the term Hektisch Sprengen basically means blowing up things in a very hectic manner. Instead prepare for quite the contrary sound vise. Their tracks Social Rub and Dancing Dust are electronic, analog Slow-Disco-Cosmic-Trance-Tunes containing some SH101 and Korg synth lines with TR-808 beats and some Japanese, African 2 South-American hints. While one track is tracing an ultra rare psychedelic voice sample from Nigeria’s 70’s Highlife scene the other one uses a little boinx gag.

To round things up no other than Dirk Leyers from Africaine 808 did the final mixdown on those tunes.

On top DJ Normal 4 straight outta ‚Pott’ hits full on groove with an uncanny Funk Breaks anthem recalling early 90s Warp and the best of UK-Big-Beat-Acid and conga easiness.

Last but not least Down Under`s DJ Chrysalis jumps into the genre madness on Terra M`s first release delivering a raw UK-Garage-IDM influenced dreamy synth shiver down your spines transcending those fellow e-dancers straight into the golden years of club culture.

Martin Rude & Jakob Skøtt Duo released 2 albums in 2020: The Discipline of Assent & The Dichotomy of Control. For the third installation in their Stoic opus, they join forces with Tamar Osborn on saxophone & alto flute. Similar to their first 2 albums, Rude & Skøtt improvised a tidal wave of ideas and grooves in the studio of Causa Sui’s Jonas Munk, the perks of which were shipped to the UK for Osborn’s overdubs of echo-drenched sax and wah-flute. An improvisation rippling across time & space, merging a river of constantly in flux head-on improv, as well as making room for floating harmonies and studio-wizardry. Playful, experimental and explorative, the trio ventures into a free wash of exotica drenched in deep modal jazz-vibes - with splashes of something more futuristic and modern. But contrary to what the title suggests, there are also roaring waves of energy, sizzling funky grooves to complement the ambient undercurrent. It’s a record akin to the library & film music of the 60’s and 70’s and an ode to the willful river of experimental moderation. Far in. Bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a long-standing member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab, and is an in-demand session musician. Martin Rude: Multi-string instrumentalist & lead singer in Sun River, as well as stand-in bass player in Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, as well as responsible for the label’s visuals.

Warm presents a brand new compilation called 'Home'; a soundtrack for when we pause, take a breath, and use our senses to explore the magic of the world on our doorsteps. Morning to evening, dawn to dusk, our lives continue moving but sometimes the need to step back and reset is essential to create a balance in our lives. As we open our eyes and ears to our surroundings, our senses become stimulated by small details. Whether it be the sound of the sea lapping on the sand, the wind blowing through the canopy of trees or a robin heralding a new day; nothing is the same but all are unique.

'Home' has been pieced together over the last year by Warm’s Ali Tillett. With the majority of Warm - booking agents for Colleen ‘Cosmo’ Murphy, Gerd Janson, Horse Meat Disco, Hot Chip DJs, Lou Hayter, Luke Una - on pause, Ali took the chance to immerse himself in bringing together his passion for music, nature and art.

The 14 tracks, the majority exclusive and specially made for the compilation, includes contributions by Âme, Bobby Lee & Mia Doi Todd, Coyote, Crack’d Man (aka Crooked Man who produced Roisin Murphy's last album), Fug (with their first material for over ten years), Kirk Degiorgio presents As One, Turtle, and Ewan Pearson's World of Apples project (with their first material for nearly 20 years!). The tracks align with specific habitats in the local Dorset area, where Ali is situated, such as Harbour/Estuary, Heathland/Moorland, Woodland/Forest, and Beach/Cliffs.

To immerse the listener even further into the soundscape, critically acclaimed sound and field recording artist Gary Moore, of Springwatch/Autumnwatch fame, has been involved to help bring nature even further to the ears. Intertwined between the music are field recordings specific to area and habitat; whether it be the sound of a ship's horn in Poole harbour, avocets on the scrape, the tawny owl in the woodland or Puffins on the ledges of cliffs.

Gareth Fuller, a fabulous artist who previously lived in Dorset, has kindly allowed one of his artworks to become the centrepiece for the compilation. Titled 'Purbeck', it's a truly wonderful piece of art that encapsulates everything about the area and enables an added dimension to the immersive experience for the listener.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

Kryptox label member Niklas Wandt comes with his second vinyl release on the German jazz-tronica label. The German DJ, drummer, producer and radio host is by now one of the key figures in everything wild that's coming from Berlin these days: His jazz stuff on Kryptox is just one of his many sonic faces. He is the head of German indie-pop band Neuzeitliche Bodenbeläge as well good friend of Jan Schulte aka Bufiman- and know for several collabos with him. Now Wandt comes up with what could be his most advanced release. A free-jazz album recorded with Swedish saxophonist Otis Sandsjö. And it might sound strange to some, but Berlin is becoming an international center of free improvisation. It makes sense as the city has been the center of techno for years - the music that is extremely formalistic and all about repetition and standardised sounds and grooves. Free jazz is the extreme opposite to that formalistic tool music of the last years.

After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.

The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.

In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.

Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...

A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.

A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.

B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.

B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.

B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

A wide open range of industrial techno ways... but none are EBM. It's more like Reload style if we talk about the kicks... somehow space DJ's to Atom-X or Accelerator.
About the ambiances we defenitly are into news/Wave, Dark electro sounds...

the melt of both brings a fresh thrid rway... surprising record !

ENJOY !

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Collaboration between Live At Robert Johnson & Public Possession, both selecting some key label artists to remix “Gingko” a track taken from “Aksel & Aino”s debut Album “Lullabies for Insomniacs”. Including Mixes by Gerd Janson, Lauer, DJ City & Nice Girl ranging from Big Room Balearic Pop to tripped out Techno and classic house.

Iconic Live trio, DJs & Producers Aroma Pitch are back on Public Possession. After having released their Maxi EP “Oxi Rain / Water Air Water” we are very proud to deliver the follow up, their debut Album “Interlife”. Connecting the dots between multi faceted musical influences this Album is bringing together a long legacy of headphone listening to Jazz, jamming in Studios & Clubs, performing on Raves, soundtracking car rides and musically up-lifting daily lives. We have been fans for years and this incredibly diverse record is setting it into stone. Jesse, Julius & Magnus won our hearts forever.
If you haven’t already, now it’s time for you to get involved!

Apparel Tronic is proud to present you the new album by Artizhan called Breaks From The V.
The DJ and producer from Naples, who’s been a pivotal figure of the Italian Electronic music scene since a very young age, is not new to the Tronic catalogues with his newest moniker but this one is surely his most complete, heartfelt and anticipated work to date. Having been in the scene for more than 25 years allowed Franky B to experiment, improving his creative techniques with ninja-like dedication and always testing himself along the rapids of music production, DJing and scratching. Now he’s ready to emerge once again from the shadows with his new LP: a groundbreaking, powerful, cutting-edge work we’re all extremely proud to finally release and, most importantly, his most profound sonic confession so far. With ‘Breaks From The V’ (the title of which is a tribute to his homeland, where ‘V’ stands for Vesuvius), Artizhan narrates his life through his music and embodies the best version of himself displaying, through ten stunning tracks, great versatility as a producer, ranging from D&B and Jungle to abrasive beats and some masterly composed and very personal paraphrase of IDM. The LP is a massive showdown by the artist himself and his label, both united towards a single objective: telling Artizhan’s incredible story as effectively and efficiently as possible.

What is techno if not a powerful conduit for energy? The movement of a sequence, the surge of an effects rush, the respondent reaction in every individual dancer and the moving mass of the crowd as a whole. Whether the frequencies transmit directly into the brain through the intimacy of a headphone reverie, reverberate through the architecture of a space or fill the formless void of the open air, techno’s potency to initiate and stimulate energetic events is profound. This is something Pfirter understands intimately, having spent more than 15 years exploring ways of manipulating the energy on a dancefloor.

Of course, energy is not just about volume and aggression. Tonality, spatial processing and composition can have just as profound an effect as the thump of the kick drum. On his new album Altered States, Pfirter proves that point by zeroing in on the cerebral, psychedelic elements of his craft across 10 incisive tracks. The Argentine producer consciously approached his second album (following 2019’s The Empty Space) with a minimal mindset, using a very focused set of drum machines and synths to achieve a consistency across the record. Captured over a short burst of creativity, it’s the sound of an artist pushing a limited array of tools as far as possible. Despite this concise palette, it’s not an album that repeats itself, but rather an extended trip that flows from one detailed, textured immersion to the next.

The dense, febrile waves of hard-oscillating ripples in ‘A Future In Chaos’ and the sparkling, off-key chimes adorning ‘Yearn’ all speak to Pfirter’s gift for extravagant, surrealist expression within his tracks. ‘Altered States’, by way of contrast, succeeds in its absolute immediacy – a piledriving statement of bleep-driven intent. ‘Boiler’ and ‘Convergence’ land somewhere in between, coiling around kinked rhythmic incantations which still push forwards with precision while offering a different angle from which to approach the dancefloor. Cementing the idea of the whole album as a listening experience, Altered States is bookended by ‘Venus’ and ‘Dissolution’, two minimal exercises in drone-oriented mood setting.

Pfirter understands the role of his music, and his own instincts as a performing artist. It’s crafted to be captivating for DJs as much as the attentive listener. Spanning linear rhythms and broken beats, moments of calm and writhing intensity, Altered States offers a multitude of energetic possibilities in the mix or as a standalone piece of music. Ultimately, it’s a masterful return from a leading light of the contemporary techno scene.

This is MindTrip!

C.Z. debuts on LA's Evar Records with the uncompromising Heat Index EP.

The Los Angeles-based producer, beatmaker and DJ sets a course through IDM, techno, jungle and trance to deliver five frenetic, emotionally-charged dancefloor cuts.

Over the course of an intensely productive career, Colby Zinser (aka C.Z.) has made music spanning genres like pop, rap, hardcore and jungle. As well as releasing music as C.Z., he's operated multiple aliases, including the prolific Ice Underlord. Drawing from a longstanding fascination with breaks, trance and the IDM of artists like Warp Records' Clark, he's developed his own rich and eclectic style of club music - a sound that crystalized on his 2020 debut album Hyperfocus.

C.Z. emerged from 2020 armed with a mass of new dancefloor tracks, freshly inspired to make club music a central focus, after years of smuggling techno, trance and breaks elements into the rap beats he was making for others. As he explains: 'It's great to come back to music and just make what I love, I don't want to be someone else's secret weapon, I want to be my own.' Heat Index refuses to toe a line, steering skillfully through genres and setting a tone that oscillates between club-fuelled euphoria, heartbreak and the looming threat of planetary crisis.

Opener 'Midnight' rattles along at a breathless 160 BPM, transporting you to a breakdown in the middle of a pounding hard trance set. Within a minute the rushing neon trance synths collide with huge, sub destroying kicks. The title track 'Heat Index' follows, with brooding pads bolted onto a tight breakbeat, leaving space open for the razor sharp, searching synth line.

Moving rapidly through the gears, 'Hurricane' is an aptly titled exercise in precision programmed classic jungle breaks, carried forward by bubbling earworm melodies. 'Retrograde' shifts the focus again - a pitch-black, dark, fast and seething techno track ripe for warehouses and dungeons, before 'Radial Lens', a melodic, anthemic set-closer built on a muscular, downtempo break.

C.Z.'s first appearance on Evar Records, the LA label founded in 2020 by Trickfinger and Aura T-09, follows a series of hard-hitting releases from Speed Dealer Moms, Limewax and Kilbourne, all artists who like C.Z., are able to traverse twisted electronica, club music and pure abstraction with ease. 'I want to help encourage a more open electronic music space, less pretentious, and encompassing all genres.' C.Z. says. 'It's an important goal of mine, and one the label shares.' Heat Index is a wide-ranging EP from a versatile producer, and a celebration of unfettered expression, for minds and dancefloors free from inhibition or genre restriction.

RAWAX proudly present the new series by Woody McBride aka DJ ESP!

You can expect some new, unreleased and classic re-issues on this platform form the Mastermind himself! Starting in May with the former Synewave #09 from 1995!