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Since its release in March 2024 Perc's album 'The Cut Off' hascontinued to rise in stature with glowing reviews including an 'RA Recommends' award from Resident Advisor , 'Best of 2024' list appearances and tracks such as 'Static' featuring Sissel Wincent and 'Imperial Leather' becoming dance floor hits around the world. The album also spawned a 26 date album tour with shows at festivals and clubs across Europe, USA and South America.
Now 'The Cut Off' returns as two remix EPs containing reworks from a wide range of artists all operating at the cutting edge of forward facing electronic music, with this first EP taking in everything from tough industrial hardcore through deeper sounds all the way to London acid techno.
Opening up the EP is Dutch legend Ophidian, who transforms 'Static' from grinding techno into an epic fusion of hard edged techno and industrial hardcore. Already one of the most requested tracks from Perc's recent sets, this Ophidian remix once heard is never forgotten.
Staying with the Netherlands, Vera Grace shows a relatively new side to her sound moulding Perc's 'Fett23' into a echoing slice of hypnotic techno. Heavy on sound design with a driving synthesised pulse leading the charge Vera's remix constantly builds momentum without ever getting repetitive.
On the B-side Acerbic (aka London acid techno hero Ant) pumps 'Imperial Leather' full of caustic acid with a huge arrangement that never sits still for long. Perc is known as a key supporter of this classic London sound and this remix has been his biggest acid track recently.
Finally Argentina's Zisko becomes the first ever South American artist to appear on Perc Trax. A breakout star of the new wave of groove led percussive techno with multiple recent appearances
at Berghain, Zisko takes deep cut 'Milk Snatcher's Return' and adds swinging hihats and rides and just a touch of dub techno for a perfect example of why his sound is so in demand right now.

Hello Softies,
Too Slow To Disco NEO is back with a (mellow) bang

A colored, strictly limited teaser 12 Inch featuring two exclusive new tracks:
Side A - a warm, lazy dub-disco track by L.A.'s electronic-slow-disco musician TURBOTITO
Side B - a funky Vibes4YourSoul Remix for mysterious New York artist 1-900.

Both tracks will be released on our sister label Too Slow Too Disco NEO, invented by Dj Supermarkt for modern, warm Sunset Disco.

Side A is also the first track from our upcoming summer compilation THE SUNSET MANIFESTO 2.
(featuring exclusive tracks/remixes by Poolside, Young Gun Silver Fox, Prep & Eddie Chacon, Woolfy, Lovetempo, Joel Sarakula a.m.m.
Side B will exclusively be available only on this 12 Inch

The tracks take the listener on a warm trip into a modern, laidback electronic sunset disco land, where groovy Westcoast-vibes meet dreamy Balearic sounds, mixed with a modern Nu-Disco/Daytime Disco style.

Enjoy your bottled sunshine (responsibly)!

A reggae cover of Marvin Gaye's '60s soul classic and The Police's '80s hit!

Australia's reggae dub unit, Springtones, has reimagined two massive hits from Marvin Gaye and The Police through the lens of reggae fusion and dubwise, now released on a 7-inch vinyl!

Side A features a dubby and masterful cover of Marvin Gaye's 1967 soul classic, "I Heard It Through The Grapevine," with vocals by Gayl, brought to life by the Springtones. Side B showcases "Walking On The Moon," The Police's 1979 smash hit, covered by drummer Dubbin' Darryl?renowned for his unique reggae sound infused with funky soul?alongside the Springtones and Jamaican vocalist Noya. This track blends dubbed-out horns, deep electro basslines, and Noya's ethereal vocals in perfect harmony. The artwork, which pays homage to the Japanese edition of Marvin Gaye's singles, is also a must-see!

Phonogramme Drops Feel Me Ep by Amir Alexander—four Potent Tracks Blending Raw House Grooves With Techno Intensity. a Must-Have for Peak-Time Energy...

In late 2023, Tokyo-based musician, Daigo Sakuragi, temporarily relocated to London, where he revisited material recorded with fellow Japanese musicians in Tokyo, drawing inspiration from the city’s energy, music, and atmosphere. This new perspective culminated in Togenkyo, a 28-minute work blending early 2000s folktronica and contemporary ambient styles. Sakuragi crafts immersive sonic textures with synthesisers and spatial production, while the organic groove of drums and bass anchors the piece, subtly inviting physical movement. Floating above this foundation, the saxophone weaves through the soundscape, leading the music with an elegant yet exploratory presence.

The session took place at aLive recording studio in Tokyo, with the following personnel:

Daigo Sakuragi: synthesiser, guitar, post-production
Jinya Ichikawa: bass
Shoei Ikeda: saxophone
Kazuya Ooi: drums

The lineup reflects a network of notable Japanese artists: Ichikawa, Sakuragi’s longtime collaborator in D.A.N.; Ikeda, known for his work with Maya Ongaku; and Ooi, a drummer for yahyel.

Sakuragi is best known for his band project D.A.N., where he contributes vocals, guitar, and production alongside bassist Jinya Ichikawa and drummer Teru Kawakami. Since its formation in 2014, D.A.N. has gained recognition for their unique fusion of indie rock/pop, dub, and electronic music. Under his solo moniker Daigos, Sakuragi explores electronic dance music through DJing and production, experimenting with Eurorack modules and samples in a refined, microscopic aesthetic. Recently, his creative output has expanded into diverse fields, including advertisements, artist collaborations, and films.

The term Togenkyo resonates with the concept of utopia, yet it diverges—it does not symbolise a flawless paradise but rather an attainable state of peace within oneself. Sakuragi reflects on finding his own Togenkyo in London, far from his hometown of Tokyo. The EP brings a sense of comfort and calm, reminding listeners that such a space exists not far from reach.

Archeo Recordings serve a special delight with two extended and alternate reworks from the all star cast behind the recent AR025 Aqua Cheta remix 12”. Dipping into the cool waters of Infradisco’s original LP once again, Hear & Now and Manu Archeo look to the horizon and channel the horizontal with a couple of ambient suites, new age dreamscapes and day trippers, each awash with positive vibrations and healing frequencies.
Perugia's peerless Hear & Now open the 12", cultivating pulsing chords, hazy reverb and elegiac fretwork for a White Isle romance steeped in the sunset lineage of the Café Del Mar. Heart-swelling piano and restrained bass throbs conspire to see the rest of the world melt away, with occasional percussion the only reminder that time is still passing. Though radically different from their dance-floor driven revision on the 12", this is no less impactful, swapping the club sonics for the sensation of sheer beauty.
Not content with making a spectacular production debut via his dubbed out diversion of "Dulcis" last time out, Manu Archeo makes further waves with a meditative masterpiece - spaced out and sprawling through a sultry thirteen minutes. An echo drenched meditation script gradually sinks into the immersive ripple of balmy horn, delicate hand percussion and watery pads, making room for a succession of stunning lead-lines and glistening sequences. If you thought the new age of New Age was over, it's time to open your mind.

Conrad Pack’s debut album Commandments. Mournful, murked-out dub-tekno and water-logged 〜150bpm steppers scraped from the floor of the Thames. A very UK response to the year-zero schrantz death-trips of DJ Valentime$, DJ Salazar et al. Simultaneously ultra-alienated and dialled into the dance, full of caustic/entropic industrial textures, drawing deep too on concussive reggae/soundystem dynamics and drill’s emotional-badboy yearning.

The mysterious Reverend Danny Dread descend from the mist-shrouded hills of the Jamaican hinterland to deliver a sermon to all dibby dibby soundboys who run their mouths. Originally cut as a dubplate on a riddim engineered from the DNA of an obscure early 90s Jammys cut, Chatty Mouth Defeat makes it clear it's not wise to ramp with the Colonel.

The first in a two part series on Canopy documenting the work of the Beninoise supergroup, T.P. Orchestre Poly-Rythmo, who were responsible for an astonishing multitude of records, numbering well over 250 releases. While the group underwent numerous personnel changes over the course of their 40+ year legacy; the founder, composer, vocalist & multi-instrumentalist Clément Melome remained a constant and uniting force.

The title track, "Zo Tche Kpo Do Te", sung in Fon by bandleader Clément Melome translates as, "My Fire Will Not Go Out" and was taken from the self-titled LP "Melome Clement & L'International Orchestre Poly-Rythmo". It is here remastered and reissued by Canopy for the first time. This evocative song is a hybrid of soukous-like elements with a driving, almost disco beat and a relentless bassline shot through with funky guitars and triumphant horn arrangements. The atmosphere is given a cosmic sensibility with synth lines and psychedelic FX, culminating in a sonic cocktail that has often been described as "Voodoo-disco".

Accompanying the original version are two remixes by producers whose work Canopy has long admired.

Jose Marquez adds live bass and percussion to his "Mezcla", turning it into an uplifting opus that deftly dances the line between the original work and the modern elements, tastefully updating the sound to segue between the past and present.

Sol Power All-Stars up the ante with their powerful reinterpretation. Throbbing bass underpins a club focused yet dubbed out and psychedelic afrobeat over which Clement Melome's composition shines. The Ibibio Horns add complimentary horn arrangements and galactic synth solos. The end result is a master work in 21st century future-vintage afro funk creation.

The latest from The Robinson - that'll be Milan-based brothers Marco and Riccardo Augeri to you - opens with the jazz, live-sounding and improvised 'Life Decisions' with its cosmic synths reaching up to the stars over raw beats. 'Unconscious Habits' follows on, bringing deep, dubby drums, organic percussive lines and a deep jungle vibe while 'Running Algorith' is another humid deep house closer with warm, diffuse pads and a spiralling of deft percussion.

Watkins Group returns to Frequency Consortium for its second release, pushing further into the murky depths of dubbed-out desolation. Dubh Dubs (Dark Dubs) takes its name literally—seven tracks of cavernous low-end pressure, submerged echoes, and spectral atmospheres, drawing inspiration from the voids between worlds, the unseen corners of deep space, and the eerie stillness of unknown places.

Where Beanntan a’ Bhròin charted a course through the bleak grandeur of the Highlands, Dubh Dubs plunges headfirst into the abyss, embracing the weight of isolation and the slow decay of time. Watkins Group crafts a sound that feels at once infinite and suffocating—pulsing, restrained, and heavy with the dread of something just beyond reach. Tape-warped textures and submerged percussive mutations unfold in glacial movements, calling to mind the nocturnal dub abstractions of Porter Ricks, the blackened ambience of Thomas Köner, and the sub-heavy spirals of Rhythm & Sound at their most ghostly.

A study in tension and negative space, Dubh Dubs marks another compelling entry in the Frequency Consortium catalog—an offering for those drawn to the darker recesses of sound, where every echo leads deeper into the unknown.

In loving memory of my brother and kindred spirit - Marcus Rafferty

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

The EP opens with CRYMEs original mix of HOLD ON, a track driven by a weighty low-end, saturated rhythms, and hypnotic vocals. Cinthie's remix brings her soulful house touch, layering choppy stabs, airy strings, and a bouncy bass hook. Obscure Shape then takes the track into techno territory with a robust drum workout and dubbed-out fragments of the original keys and vocals.
On the flip side, Lydia Eisenblatters remix highlights crisp breaks, gritty rave stabs, and pulsing subs. Volpe closes out the release with an ethereal dub techno rework, featuring spiralling echoes, a groovy bassline, and heavily shuffled percussion.

The Bait label headed up by Beatrice M looks to Conzi for a fresh new 12" that builds on the label's superb early momentum. It delves deep into timeless 140 bpm sounds with opener 'AU2' layering up the percussion over fathom-deep beats and aquatic dub pads. It's a heady one for late night rolling and 'Drakar' then brings more bright melodies but similar icy beats and organic perc. An N:in remix of 'AU2' makes things more skittish and kinetic and broken, then and Ambit remix sets down with low-end pressure. These are fresh sounds that bring new direction to classic dubstep.

Classic R’N’B meets Neo-Boogie with a touch of Pop.
An uptempo groove with a silky voice on top, an instrumental monster
hook forced by very funky keyboard lines, all together forming an instant
smash single.
Modern and fresh melodies, driving claps and a groovy baseline are the
ingredients of this debut single by this brand-new artist GI-YO.
This is the 2nd release of our Sedsoulciety Recordings gold line, which
displays the modern and zeitgeist driven section of our catalogue.
GI-YO is a young and super talented writer, multi-instrumentalist,
composer and producer. All instruments are played by himself, the song is
written and composed by him and was mixed and finalised by no less than
super producer Rob Hardt.
This new release on SEDSOULCIETY RECORDINGS is another
unreleased exclusive vinyl 45!

Stix Records, a sub-label of Favorite Recordings, proudly presents the new and 3rd single by Mato & Ethel Lindsey. Following to their stunning cover of the famous “What You Won’t Do For Love” by Bobby Caldwell, and “Baby Come Back”, the underground AOR/Blue-Eyed-Soul classic from The Player, the duo this time takes over “Georgy Porgy” by Toto.

As usual Mato’s unique reggae production skills delivers a blazing version of the multi-platinum worldwide hit, and Ethel Lindsey’s vocals match perfectly with his strong AOR influence and style. To complete and provide the release with a special twist, they also decided to cover the more underrated French version of the song, originally released by Dwight Druick on his Tanger album.

Ethel Lindsey is currently preparing his 1st album to be released on Favorite Recordings, Ethel has a long music and singing experience, unless an almost blank discography. From his very young age, he’s developed a deep passion for AOR and Blue-Eyed-Soul artists.

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

Meet Leng’s latest signings, Liminal – a Danish duo comprised of guitarist, multi-instrumentalist and producer David Rosenkilde, and DJ, producer and sound engineer Morten Troest.

The pair first met when Rosenkilde was booked to perform as a session musician at Troest studio. They clicked immediately so with Troest’s studio skills and inherent knowledge of what works on dancefloors paired with Rosenkilde’s abilities as a musician they decided to produce their own music together working to one simple rule: try out every idea, however outlandish!

Since then Rosenkilde and Troest have been recording their debut album that’s set for release on Leng later in 2025. First, though, we get a taste of their talents via ‘Keep Coming Back To Me’, an impressive debut single that blends electric and electronic instrumentation while keeping its focus fixed on the dancefloor.

Ushered in by shakers, rubbery bass and flanged guitar licks, ‘Keep Coming Back To Me’ giddily blurs the boundaries between colourful nu-disco, low-slung dub disco and the sun-splashed beauty of the more club-friendly end of the Balaeric spectrum. It boasts a hazy, multi-tracked and lightly glassy-eyed lead vocal, as well as a nagging TB-303 acid line that works its way to the fore as the track progresses, adding extra layers of excitement and energy as it unfolds.

Remixer Ray Mang (AKA long-time friend of the label Raj Gupta) takes the latter element as his inspiration on a stunning, nine-minute plus remix that brilliantly re-frames the track as a blend of tactile 21st century nu-disco colour, hypnotic proto-house and analogue-rich, acid-fired Chicago jack. Re-playing the bassline in an early Chicago house style and reaching for lo-fi and spacey synth sounds, the veteran British producer frequently strips the track back to the groove before re-introducing the vocal and the dreamiest of chords.

Liminal also display their sonic diversity on bonus cut ‘The Moon Is Changing’, a wonderfully atmospheric and star-lit affair in which spacey ambient chords, twinkling electric piano keys and intergalactic electronics slowly usher in a mid-tempo Norse nu-disco groove. The pair build slowly, adding vocals and layered guitar licks. The results are hard to pigeonhole but thoroughly impressive, offering a tantalising glimpse of what’s to come on their must-check debut album.

Legendary French DJ and producer The Hacker debuts on Radio Slave’s Rekids with the ‘Laser & Smoke’ EP on 21st February 2025. The two-track ‘Laser & Smoke’ EP harkens back to The Hacker’s early 90s roots in Detroit-inspired Electro & Techno. First, he starts with ‘Turborave’, a tasteful, bleepy cut with an unignorable bassline and muted dub chords that wash over its snappy groove. ‘Turborave’ is the kind of heads-down, lose-yourself dancefloor moment for the later hours before ‘Harmonia’ sees The Hacker play with high-voltage cables on the B-side. Charged-up zaps and zippy acid call and respond while bodied drum hits keep the rhythm moving, whistles and pads occasionally joining in.

Pioneering DJ and producer The Hacker is renowned for being a leading proponent of Electroclash in the early 2000s, his Techno and EBM-infused sound, and iconic collaborations with Miss Kittin. With releases on labels like Dark Entries, Mannequin Records, and Turbo, as well as remixes for Air, Soft Cell, Dave Clarke, and Front 242, The Hacker remains a vital force in electronic music. He now adds Radio Slave’s Rekids to his extensive discography for the first time via the ‘Laser & Smoke EP.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Harry Romero, Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Tiger Stripes, Tal Fussman, and many more.

Prince Istari in the 4th Grade of the Riddim Dub School brings a one drop tune on the first side called ‚Gone Too Soon‘. Prince Istari plays here the opening acustic guitar solo. then the tunes flaps into heavy spring reverbation in a drum and bass style just to swing back into a melodic part with some uplifting melancholic mallets solo. On the flipside 'Lost You In A Club‘ a melodica solo and lover rock influenced
disco dub tune will pick you up into gentle rub-a-dub. heavy ibanez hd-1000 harmonizer dubbing on this one!

This heavy roots reggae cut comes courtesy of The Viceroys, legendary harmony group from the stables of the world renowned studio 1. First recording for the venerable Mr Dodd in 1967 The Viceroys were instrumental in moving the sound from rocksteady to reggae with early hits like “Ya Ho” and “Love & Unity” .

The A side of this weighty 45 is a revisited vocal from the early days of the group, a haunting, smokey rendition of Maga Down. Drawing musical influence from Ethiopian and Cuban music as well as its obvious early reggae basis this record sounds fresh whilst simultaneously transporting you back to the golden era with its warm nostalgic themes.

The flip side is an ethereal dub mix from the Bristol based Yakka, an almost psychedelic journey into the mixing board bringing out the best of the vintage sound pellet.

This is the third release from Bristol label Poor Man's Friend Records, produced in the Poor Man's Friend studio and voiced in Jamaica only 300 copies of this smoked out ode to the golden era are available for purchase.

A Stunning Sushitech reissue of Dreams Are Made by London based Get Fucked.

This collector’s vinyl features an unreleased mix of the classic with soulful blues with deep late night vibe. On the B side, the highly sought after dub-infused, hypnotic journey by Kennth Graham.

An essential, must have 10” for serious vinyl collectors and dub-tech aficionados alike.

LA-based band ASHRR picked up plenty of new fans with their recent Sunshine Low album and now they're back with the sixth single from it and it comes with some seriously heavyweight names on the remix. Chicago house pioneer Ron Trent does his thing to 'Please Don't Stop The Rain' by going super deep, spine tingling and heady with some lush arps and distant guitar twangs adding a Balearic feel. Dub treatments come from the Prescription boss himself, while ASHRR's alter ego, ASHRR Soundsystem, offer up an instrumental and a remix that lay down dubby house drums and lush chord work. This one keeps the summer vibes going well into winter.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

The new label engorn celebrates its second catalog release, once again featuring gustav krach and taschendrachen. The A side kicks off with two dreamy deep house tracks by taschendrachen. The first track, the meaning, blends lush congas and bongos with smooth pads. dont forget us stands out with its warped bassline, while both tracks feature lovely, haunting vocals. The side is rounded off by a sweeping ambient
breakbeat track from gustav krach, closing it with atmospheric depth.

On the B side, taschendrachen showcases his passion for
chords, creating a drive infused cut with tell me do and crafting a dub influenced soundscape with tides, where the chords form a vast sonic backdrop. The release closes with gustav krachs atmospheric ambient track, offering a fitting, introspective conclusion to the journey.

Irrestible, and refreshing fast paced dub techno EP

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain.

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release.

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall.

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space.

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.

Emotional Response is proud to welcome renowned multi-instrumentalist Alan Briand aka Shelter, to the label with a striking new EP that delves deep into the realms of modern Digi-Dub.

Over a myriad of releases Shelter’s dextrous ability to straddle genres, from ambient, Balearic, improvisation and most recently a series of acid ragas, releasing on an impressive roster of today’s electronic labels including Antinote, Growing Bin, International Feel, Séance Centre and his own Protopost imprint.

After making waves on Emotional Response's All Trades compilations with his standout track "The Four Knights Dub," Briand returns to further explore his passion for digital dub and UK roots. Across four tracks, all recorded live, he merges sound design, found sounds, and world music with seismic basslines, creating a truly immersive sonic experience.

The rise of Digital Dub is often traced to the groundbreaking "Under Me Sleng Teng" by Prince Jammy / Wayne Smith, but it was the UK's later reversioning – adding electronic drums to roots and steppers rhythms – that gave birth to the unique sound of Digi-Dub.

Shelter pays homage to this tradition, drawing inspiration from the likes of Alpha & Omega, Bush Chemist, and Jonah Dan. His process is as raw as it is innovative: building an analog setup with a MIDI sequencer, DCO synth, live vocals, and sound effects fed through Boss pedals. Digital drums from the KPR77 and DD10 are layered in, with everything mixed live to tape, no overdubs, capturing the raw, live energy of the performance.

This EP must be experienced as a whole – a continuous live set of steppers 4/4 rhythms, cryptic titles (a nod to chess tactics) that acts as rewinds, paying tribute to dub classics of the past.

Seit der Gründung 2010 durch Andrew Weatherall und Sean Johnston entwickelte sich die Clubreihe "A Love From Outer Space" (ALFOS) zu einer britischen Institution, expandierte und erreichte ein internationales Publikum. Als Reaktion des Undergrounds auf den schnelllebigen Mainstream verfolgte ALFOS einen langsameren, nachhaltigeren Ansatz bei einem Tempo von maximal 122 bpm. ALFOS wurde für seinen eklektischen und hypnotischen Sound bekannt, der alles von Cosmic und House bis zu Dub und Post-Punk vermischte. Dieser Jubiläumssampler spiegelt die Musik wider, die ALFOS in den letzten 15 Jahren geprägt hat. Das von Johnston zusammengestellte und gemischte 19-Track-Album ist eine Hommage an die reiche Geschichte des Clubabends und sein Engagement, musikalische Grenzen zu erweitern. Es enthält zahlreiche exklusive Titel, darunter The Blow Monkeys' begehrten Neville Watson-Remix und Brioskis "Call 626", sowie eine breite Palette von Sounds, die sowohl die Vergangenheit ehren als auch die Zukunft begrüssen.

The next release from 29 Speedway is Break, the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music. The tape features two remixes by the singular DJ Marcelle.

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering.

Vinyl is 180g and contains downloadcode

Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2

Fresh from beasting the end-of-year charts with her 'I Miss Your Love' remix project, Ghost Assembly, aka Manchester DJ and writer Abigail Ward, is back with a double A-side: RESIST! / I Keep on Making the Same Mistake.

RESIST! (Extended 12" Mix)
Laid down quickly and angrily after attending a demo in Manchester city centre, RESIST! aims to capture the galvanising spirit of protest and put it on wax.
A 111bpm acid chugger that will leave dancefloors of an ALFOS or Optimo persuasion begging for more, this is uncompromising machine funk at its crudest.
Duelling 303s twist around each other whilst a taut, snaking 707 groove underpins unexpected blasts of Arabic rhythm, almost as if DJ Pierre had remixed 'Get UR Freak On', relocating it to the Middle East.
As a stuttering Harper Hay vocal sample urges us to RESIST!, the track climaxes with an ice-cold acid house string coda banged out on a disobedient synth. Please note: the sub on this record may trouble your duodenum.

RESIST! (Utter Kunt Mix)
The Utter Kunt mix is a sparse and daring Sleng Teng-inspired avant-dub affair strictly for discerning dancefloors only. Improbably combining hints of the Mission Impossible theme, Les Negresses Vertes' 'Zobi La Mouche' and the rough-hewn sampling of 'Duck Rock', this is a radiant obstacle in the path of the obvious. Warning: collectors of On-U, EBM and New Beat could experience a spate of nocturnal emissions upon purchasing this record.

The A-side closes with a BONUS BEATS version of the Utter Kunt Mix: a must-have DJ tool.

I KEEP ON MAKING THE SAME MISTAKE
Picking up the pace to 120, 'I Keep on Making the Same Mistake' sees Ghost Assembly returning to her string-drenched sad banger comfort zone, pairing a chilly breakbeat with a bass riff reminiscent of Joey Beltram having a gut-wrenching cry wank. Keening vocals supplied by Hazel Grove are chopped up, tormented and eventually hurled down a K-hole as the strings build and the drama escalates.
When the credits roll on this cinematic masterpiece we hear a wistful French lesbian talking about 'borrowed bliss'.

A future comedown classic; also sounds good slowed down to 33rpm.

The E.P. signs off with a stunning string-a-pella that will linger long after the needle hits the run-out groove.

The hornsman instrumental has a long legacy in the realms of reggae music. Don Drummond, Tommy McCook, Vin Gordon, Rico Rodriguez, Eddie Tan Tan. The list players behind this tradition could go on and on. The notes they played across eras from ska to rock steady to the deepest dubwise steppers bellow through the wind and the wire like a Warrior Charge ….

…It is within this tradition that Ital Counselor’s next weighty contribution to the musical world of QUALITY reggae fits…

…From the very first sonorous note emanating from the mighty Soothsayer’s Horn Section the listener can tell the Dub Organiser means business. That’s right. Once again, the Ital Counselor teams up with Chris Lane of Fashion Records for a cantankerous churning steppers meant to burn out all weak heart sound who try come test.

As evidenced from this 12”s namesake, the humble Soul Dragon Temple of Tone Sound System and IC partners in crime out of Philadelphia, USA, the Soul Dragon Anthem breaths some serious fire. The hard hard rhythm churns relentlessly while the bassline rolls like Dragon’s breath calling all in the dance to spring heel skank straight through all four cuts.

The Dub Organiser stirs a cauldron of dense dub at points conjuring aspects of Lee Perry’s classic Black Ark sound while maintaining his own distinctive spin on the mystical mixing arts. Shards of sound echo and delay. Mr. Lane takes the bassline to aquatic depths as the DRAGON DIVES DEEP……Cut 1…Cut 2…Cut 3…Cut 4…

This one is dedicated to all home town hi-fi’s forwarding reggae and sound system culture outernationally. So without further ado, all soundman and woman worth your salt it is time to DROP the needle on this track. Watch the Dragon FLY and let the Dub Organiser and the Soothsayer Horn’s “Soul Dragon Anthem” BREATH FIRE through your SPEAKER BOX!!!!!!

Franco Rosso’s epic cinematic opus of reggae social commentary, Babylon, landed in November of 1980. Moving through the film’s opening frames of grey dreary London, two spars – Blue and Ronnie – run with unrestrained anticipation to link with their Ital Lion Sound System brethren. Simultaneously the rest of the crew does what sound crews have done from time: Load them boxes up in the van and trod with vigor to the dance.

But that bassline…The soundtrack notes that carry the celluloid movements of the film’s opening scenes…That bassline…Upside down…Jazzy…Dubby…A bassline like no other reggae bassline the Ital Counselor has ever heard. The hook that got me deep into UK roots music from the band that is my number one inspiration.

If there is bassline that represents the core imperative of Ital Counselor Records, it would have to be Aswad’s Hey Jah Children. It seemed therefore only fitting to bring its absolutely resplendent glory to a new generation. Lovers of sounds and blues, it is time for the dread ital lion sound to once again rise to meet the day. So it is with the deepest of gratitude and respect to the legacy of Aswad (RIP Drummie Zeb) and Franco Rosso, that we present a deeper than deep next cut…Christened here…the Ital Lion Serenade.

In line with all IC releases, we have enlisted top tier session musicians and studio men. Long time IC collaborator, Inyaki BDF, is at the center of the action as the musical maestro. Hopping on the BDF sonic lorry are Aratz Diez on Trombone and James Zugasti on the dub mixes. This crew bring the original composition up-to-date with a heady dubwise weight. Syndrums ricochet while Inyaki’s bassline rumbles teetering as it does somewhere between a modern dubstep warble and its core roots-wise influence in Tony Gad’s original playing.

Diez’s trombone playing comes across like an x-ray of the Aswad Horn Section and keeps intact the jazzy abstraction of the original. In turn, Inyaki goes full 70s synth on the psychedelic dubwise of the B-side’s Operation Swamp 81. UK history buffs better you know the reference in that title and its thematic echoing significance from the UK depicted in Rosso’s film and carried on in remembrance on this here hotter than hot 12”.

A warning: the Zugasti dub cuts are devasting to speaker boxes.

Representing the new generation of conscious reggae music world wide, Brazilian singer Junior Dread teams up with Amsterdam based producer U-Root in a digital style.

"Twilight" ist die kleine Schwester von "Daylight" und laut Produzent Hifi Sean und Sänger David McAlmont ihr bislang bestes Album. "Twilight" ist eine 12 Tracks umfassende Nachtfahrt von der Dämmerung bis zum Morgengrauen, mit allen Momenten dazwischen. Der Opener "The Comedown" ist eine Zusammenarbeit mit The Blessed Madonna, der Titeltrack eine Klangwand mit Chören und das herausragende "Sorry I Made You Cry" ein verzerrter, von Doo-Wop inspirierter Torch-Song.

- Sean: "Ich wollte, dass sich dieses Album so anfühlt, als wäre man in einer dunklen Gedankenwelt und würde gleichzeitig von seinem Lieblingsmenschen umarmt."

- David: "Ich weiß nur, dass wir uns vorgenommen haben, eine kleine Schwester für Daylight zu machen, und am Ende unser bisher bestes Album herausgebracht haben."

Lost tracks don’t stay lost forever. Running Back is proud to present the reissue of Aric’s I Love Your Love – a long-forgotten gem from the good-time party days of the early dance era. Originally created in the spirit of celebration and groove, these tracks disappeared into obscurity until a few dedicated DJs and dancers across the globe began bringing them back to life.

When Elado stumbled upon the songs and saw the magic they still held for modern dancefloors, he tracked down Aric – now better known as Dr. Aric, a paediatric public health professional – to bring the music back to the world. What followed was a journey through memory, music, and rediscovery.

The result is here: the original cuts, plus fresh remixes from Elado, Pete Blaker, and Gerd Janson. Nostalgia meets new energy, and the dancefloor wins again.

Alternate versions of tracks from Marc Mac's Def Radio Album. The album marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch focusing on a central sample used in the original Hip Hop song, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing.



a A1: What It Mean (Battle Cut) 45

FELT welcomes back Civilistjävel! with »Följd«, the follow-up to last year’s »Brödföda«. 7 tracks further chronicling his melancholic murk, ever drifting towards that faint dub glow. Features a collaboration with Thomas Bush Jolly Discs.

Uncanny are the nocturnal sounds that ebb patiently from Tomas Bodén and his machines. His music continues to uncover equal parts beauty and dread from isolation, a purposeful slow pace guiding those gentle noises through the arctic air surrounding its author. No matter the weather, these expressions as Civilistjävel! continue to find a loving home on Fergus Jones’s FELT imprint.

On »Följd«, he naturally develops on the inclinations found on »Brödföda«. »XIII«’s unsettling warble melts into the dusky spurts of »XIV«. Further on, the dew-glowed ambience of »XV« precedes »XVI«’s dub trudge which casts a hypnotic grey shadow. »XVII«’s wind-swept acid redux then quietly transitions into the stunning introspective drone of »XVIII« before closer »XIX« comes into view, its positive dawn enacted through Thomas Bush’s croons lilting amongst organs, guitars and tempered sound design.

Civilistjävel! continues to emote a great deal with very little, a reliable abstract practitioner that posits »Följd« as an arresting audio tale within his celebrated oeuvre.

In the late 1980s, as techno and house made its way around Europe, mutating as it hopped from city to city, one young DJ from Curacao made a mistake that would inspire a brand new sound. While he was performing at Den Haag's Club Voltage, DJ Moortje accidentally dropped a dancehall track at 45RPM rather than 33, and let it play out. Thirsty for a hi-NRG sound, the crowd loved the squeaky vocals and rapid beat, and bubbling (or bubbling house) was born.For the next couple of decades, bubbling was a crucial part of Holland's Afro-diasporic club landscape. And as a new generation of wide-eyed young DJs and producers began to take the reins, it evolved accordingly. In the late-2000s, Den Haag-based teenage prodigy Guillermo Schuurman followed in the footsteps of his uncle DJ Chippie (one of the genre's co-founders) and cousins DJ Daycard, DJ Master-D, Stiko Jnr and DJ Justme, and began performing and writing beats. Using Fruityloops, he fused familiar bubbling rhythms with rap and R&B samples, trance synths and electro house wobbles, and his tracks quickly became a regular fixture on the Dutch circuit."Bubbling Inside" is a collection of Schuurman's most essential cuts from the era (2007-2009), with a couple of newer productions added for context. Crafted solely for the dance, most of these tracks were never properly released and have been painstakingly hunted down and collected by the Nyege Nyege Tapes together with Sascha Roth from Pantropical in Rotterdam and De Schuurman himself. Hearing them together highlights just how forward thinking the young producer was, steering a Dutch institution into the future.2008's 'First One' is a proto-Berghain belter, with booming bass-heavy kicks underpinning the kind of cheeky melodies that remain the calling card of the genre. 'Pier Je Bil!!' ratchets up the tempo, twisting bubbling's syncopated dancehall kicks into a rapid-fire club clatter and decorating them with steel-pan melodies. Elsewhere, 2019's 'Domina' shows how Schuurman's production style has developed as he mutates trap percussion, dubstep bass and eerie synth textures, while retaining the DNA of bubbling. "Bubbling Inside" is a testament to the evolution of the bubbling genre, as witnessed by one of its most visionary producers.