Buscar:dr m

Meda Fury is so gassed to welcome Silvestre back for a virtual hug and a 5 track EP of new jams and remix fire! The Lisbon boy done good has been enjoying some well earned praise for his last few releases - his '...is boss EP' on Secretsundaze, 'Girar' on Diskotopia, and 'Yeah' via yours truly. Gigs in Amsterdam, Bristol, Porto, London and Lisbon followed - including his debut on Boiler Room. For this new EP we are served 3 brand new Silvestre tracks and 2 huge remixes from one of the most respected labels in Lisbon - Príncipe! 'Todos Bem' starts as an organ led scratch-fest, with a tight auto-tune vocal from Silvestre himself, before mutating into an anthemic/hedonistic 303 acid and whistle banger! This euphoric string-laden track equally at home in Ibiza or Notting Hill Carnival! 'Paga O Que Deves' is up next; Joao's love of grime and UK bass culture is evident from the drop, twisted synths and breaks recall everyone from Eastman to Wiley. On the flip we find serious remix pressure from Silvestre's friends and contemporaries - the Lisbon crew of Príncipe! DJ Firmeza is up first, pushing the tempo way up on 'Yeah', turning it into a banging kuduro rave monster, propulsive batida drums upping the temperature. DJ Lilocox follows with an intense remix of 'Demónios Na Cabeça', converting it into a percussive trancey big-room bomb. Layers of mixed afro/gqom drums follow a strict samba-like rhythm forcing hands and possibly the ceiling higher.

Legowelt has been a key figure in the Dutch electronic music scene since the early nineties, steadily relea­sing timeless music that merges the pioneering sounds of Detroit and Chicago with idiosyncratic sci-fi fascinations. "Unconditional Contours" captures Legowelt's stint at the Swiss Museum for Electronic Music Instruments (SMEM), after he was invited to be the first artist in residence at the institution's "Playroom" project.

Legowelt visited SMEM in Fribourg, Switzerland, in early 2019 to explore the collection and record music. Possessing an extensive collection of synthesizers himself, he used hand-picked synthesizers from the museum's archive: the rare Farfisa Synthorchestra, the EVS-1 Evolution, the "shittiest rompler ever made", amongst many others. The 10-track album "Unconditional Contours" is both a probe into the vast collection of SMEM, and a display of Legowelt's well established composi­tional qualities. Leaving ample space for new sounds to unfold, Legowelt invokes gentle trips, brooding excursions, bleep heavy soundscapes, and reimagined elements of dance music classicism.

SMEM and -OUS are launching the "smem+ous" series to document the "Playroom" residencies. A limited edition of this album was already sent out to early supporters of the "Playroom". Founded in 2016 and based on a collection of more than 5000 synthesizers, organs, drum machines and effects that had been collected over a 35 year period by Klemens Niklaus Trenkle, SMEM offers residencies, studio sessions, talks and workshops.

Enigmatic producer RNDTXTR debuts on Rekids with a deep techno three tracker entitled‘Random EP’ this September.

“Some tracks just stick with you. They never leave your box, or in this case USB, and I’ve been playing these tracks from RNDTXTR for well over two years. Everywhere from Tokyo to Berlin. These have a universal appeal, being hypnotic and just the right balance between pushy club sounds and spatial melodies” - Radio Slave

Shrouded in murky atmospherics, ‘RND009’ opens the package with rigorous drums, shuffling shakers, sweeping pads and scintillating synths. ‘RND007 (Dub Mix)’ continues with a similar cantering rhythm as various rattling percussive elements work alongside clever automation for a tracky cut designed to lock listeners into a trance. Concluding matters, ‘RND004’ is the wonkiest number on the package with its syncopated groove and otherworldly melody.

The Remixes is a compilation album by The Stone Roses, which features remixes by various producers including Utah Saints and Paul Oakenfold. Various techno luminaries ply their skills reworking some of those early classic songs, and it is immediately clear that the Roses, even beyond the genius of their songs, were a preeminent dance band.

The Remixes is available as a limited edition of 3000 individually numbered copies on transparent & red swirled vinyl. The package includes an insert.

Repress

René Pawlowitz presents himself in many different forms; whether it’s as Head High, EQD, Wax, WK7, The Traveller or more recently as Hoover - he consistently, and without any fuss or hype - produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work.

With this in mind, it really is a special event to announce this amazing new EP from Shed on Tectonic, showcasing 3 distinctive and highly effective techno cuts.

‘Try’ takes a broken-beat techno rhythm for it’s spine - reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave.

‘Box’ is a darker, more percussive affair - claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb’ed ghostly samples.

Lastly we come to ‘Sweep’, a hypnotic bleepy roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi hats flair about over head. Great finish to a great EP.

Gondwana Records are delighted to announce the 6th release of our '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal. This one is limited to strictly 500 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

Last Words and Fanfares were GoGo Penguin's breakthrough tracks, taken from their first album, Fanfares, they first introduced the band's trademark mix of jazz, dance and classical music influences to the world outside of Manchester. For this this very special release we feature two breathtaking alternate versions. Recorded in 2013 they feature the now classic line-up of GoGo Penguin with pianist Chris Illingworth, drummer Rob Turner and bassist Nick Blacka (replacing Grant Russsell) together with producer Joe Reiser - they are released here for the first and only time.

With Vol.1 long sold-out and fetching a tidy sum on the online shark market. We’re pleased to present to you: Sweet Echoes vol.2 - five tracks of homegrown 160+ rollers, rinsers and freaky-deaky bass-driven nuggets. Because we care about our local jungle.

At the controls: Rings Around Saturn (Melb), Splitch (Syd), Hugh B (Syd), Freda (Syd) & Roy Batty Jr (Syd)

Our new slice of wax comes this time from outer space made somewhere between unknown galaxies and black holes. The spaceship’s pilot is 30drop, a mysterious alias that has been running its platform 30D for a long while now and is not often seen outside its realm. So it’s an honor for us to have 30drop onboard.

For this special occasion 30drop provides six cuts of futuristic techno but with a ravey approach in a time backspin that brings us back to the 90’s via Sci-Fi, reminding in some way of the early UR records, when Mad Mike and Jeff Mills worked together on the soundtrack of the future.

This is our first mini LP with 3 cuts per side. The first cut is Brain reset, the short drone intro soon leads to a relentless groove made of repetitive sequences over a fast groove. Intense and obsessive.

Mental Understanding brings more minimalistic ingredients, absence of hi hats, just kick drum and synth lines.

Brain effervescence showcases the infamous 90’s hoover sound bringing the rave element and 303 acid lines all merged in a lawless and dense mixture.

B side opens with Self awareness, starting with ethereal atmospheres, spiced with resonant bleeps and micro drones in a beat-less exercise.

Klapaucjusz brings back the 90’s feeling again with analogue arpeggios and melodies, again over a clean groove in a Detroit oriented number.

Closing the release, Knowledge, a space odyssey of strings, abstract synth lines and flotation.

A work that showcases the skills of this well-seasoned producer that stands apart from any trends, futuristic, atemporal and scientifically crafted.

W&P by 30drop

Nimbus Sextet are a major new talent on the UK jazz scene. Led by pianist/keyboardist Joe Nichols, the Glaswegian contemporary jazz outfit play infectiously original music that spans the musical spectrum. Nimbus Sextet’s fresh take on jazz blends instantly relatable melodic hooks with driving grooves, sophisticated musicianship and episodic compositions.
The core of the Nimbus Sextet sound comes courtesy of Joe with long-time collaborators Alex Palmer and Mischa Stevens. The trio met while studying at Edinburgh University and have continued to perform together ever since. Nimbus Sextet was fully formed in 2018 with the addition of Martin Fell and Euan Allardice joining the line-up with James Mackay arriving later.
It was around this point the band started to compose and record the first shoots of what would become Nimbus Sextet’s blend. A decidedly wellbalanced alchemy, arrived at somewhat naturally
by way of the varied musical influences and contributions from each of its culturally diverse members. You’re as likely to hear elements of
Herbie Hancock and Gil Scott-Heron as easily as The Roots and Robert Glasper.

The King & City label is the subject of three 12" reissues, starting with One Blood's classic Lovers Rock take of William DeVaughn's soul anthem, Be Thankful.

Taking the influence of reggae from the Caribbean diaspora within the cultural melting pot of 70s London, the birth of Lovers Rock, often-dubbed 'romantic reggae', is a uniquely black British sound, developed against a backdrop of riots, racial tension and sound systems.

A style suited to the London scene, it represents an apolitical counterpoint to the then dominant conscious Rastafarian sound and continued the soulful and commonly love-themed rocksteady style.

Active during the scene's peak, King & City was launched by Neville King and Lee Laing to champion the sound and alongside other producers like Dennis Bovell, created genre-defining hits.

Formed in 1979 One Blood was made up of the 5 Robinson brothers - Errol, Jerry, Lloyd, Trevor and Paul - and recording at the legendary TMC studios, went on to release two albums and countless singles.

Be Thankful pays homage to DeVaughn's original, with smooth vocals gliding atop tight drum and bass, vocal jumping up dub pom acapella to summer perfection. The tapes here passed to cohort Lexx, crafting a wonderful discodub that is all groove, expertly cutting back and forth...diamonds in the back, sunroof top.

Red Vinyl

With this three-cut EP, Andy Vaz pays tribute to Choutsugai, a Deep House DJ-and-promoter crew who booked him for many years of Tokyo gigs. Inspired by the unit’s love for “No Fairytale Luv feat. Detroit’s Eva Soul on Vocals.” Vaz decided to put it out as red transparent vinyl for VAZ-UP-001The two originals Tracks were created at Deutztroit Studios in Cologne, with vocals by Detroit’s Eva Soul on all three and “No Fairytale Luv” receiving a charged remix treatment from fellow Detroiter Niko Marks. The EP’s sound is classic Vaz, his own productions especially. The original “No Fairytale Luv"struts mightily, its pumping groove bolting from the gate with an acidy bass pulse, congas, and sparkling synths. With Soul draping her, yes, soulful musings over the energized groove, the gurgling floor-filler indelibly brands itself as Vaz’s craftsmanship. “U Got It Unlocked” is less urgent by comparison, this one more focused on a relaxed, funk-inflected swing given a subtle Latin feel with the addition of percussive accents. Soul again muses dreamily, though this time in a production that’s as much electronic reverie as club track. Of the three cuts, the EP’s primary house banger is undoubtedly Marks’s “No Fairytale Luv” makeover, which stomps even more forcefully. This one is a floorfiller

2LP Over the past decade, SUED co-founder SW. has arranged the building blocks of dreamy rave and techno music-billowing pads, undulating sub-bass and adroit, nuanced drum programming-into and novel dance floor structures. TRUElipS, SW.’s first full album since 2016 and his first for Avenue 66, is a beguiling, fully-realised statement. The 12-track LP is rooted in the storied ’90s era when the spirit of orbital raves and free parties was channeled into massive leaps forward in the studio. A combination of house and drum & bass looms large, as does the much-referenced intelligent techno era, but if you’ve listened to an SW. record, you already know TRUElipS is the work of a singular auteur. Breakbeats, rave stabs and major chords permeate the album, motoring along on a chassis of sine-wave bass lines and SW’s widescreen percussive vision. Forays into downtempo and sweeping ambience keep the listener’s head in the clouds, while the superb melodic techno constructions that comprise the album’s core are at once contemplative and liable to bring on a giddy head rush. TRUElipS brims with the optimistic, escapist spirit that fueled dance music’s original triumph, a throwback to bright, imagined futures.

Techno boldness from the depths of Upstate New York. Mysterious L’estasi Dell’oro returns with eight mind-boggling machine songs. Twisted mechanical workouts, enchanted while driving hard like awakened nature recapturing unattended industrial structures. Circular melodies cut through the rectangular metallic clutter. This is the stuff to bring us back together. Following previous releases on Macro, Field, Flaneur Audio, Fifth Wall and Voodoo Down, Christopher Ernst leaves his Brooklyn phase behind and starts afresh with his first long-form release in five years.

Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.

Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.

The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.

The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.

Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.

On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.

The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.

Enjoy the music and play it loud!

Yours Sincerely,
Lars & Maarten

Straight from the Mediterranean Sea, the Greek Duo Bonnie and Klein have landed at MM Discos to present “ROOF GARDEN”, an EP where the balearic beats and downtempo takes over the control and where the “2 Balearica devotes” invite us to enjoy an amazing trip from the Ionian coast thru the Aegean beaches until Myrtle Sea.
Bonnie & Klein are no longer unknown after being working the last 4 years for well renown labels as “Leng”, “Music for Dreams” and “Is It Balearic?” among others. Following their previous releases, B&K stay loyal to their own personal vision of “Chillout”.

Highly influenced by the architecture and culture from Greece, George & Thanasis build beat after beat an amazing work where their “Laid Back Style” will be the main character on this story, a long with haunting keys, wicked percussions, and sounds and melodies that will remind to “Far East”.

From their early singles and their 1993 Mercury Music Prize-winning debut album to their break-up in 2003, Suede were a fixture in the single and album charts, and in the music press too. They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B-sides even charted at # 9.

The band reformed for a one-off charity concert in 2010 and decided to make it permanent – they have released three new studio albums since 2013.

Compiled by the band, this two LP set features the huge 90s hits like “The Drowners”, “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “The Wild Ones”, Trash, “Filmstar”, “Beautiful Ones”, “Saturday Night”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”. The collection brings the story up to date with five singles from the three recent albums, including “Life Is Golden”, “It Starts And Ends With You” and “Outsiders”.

The two LPs are pressed on 180 gram vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens of items of Suede memorabilia and promotional items, all lent by fans.

Neotnas feat. Philosopher is a new collab of electronic music producers from Russia (Chelyabinsk and Moscow accordingly). As the environment of the cities mentioned as well as social milieu vary significantly a profound personal reflection of the artists results in a very specific outlook sculpted by both history and presence of Russia – a surprisingly nice stuff inspired mainly by jazz, ambient and trip-hop. Four new tracks give a deep insight into the way the artists feel the groove and associate it within a dancefloor culture regarding its roots and worldwide influence. Two of them (Jazz Engine and You're Mine) – are 124 BPM house party cuts place all the emphasis on intensively syncopated TR-808 hi-hats layered with properly selected percussive jazz elements and flavored with brass licks and reverbed chords, catchy vox and driving by a grit kick and pumping low bass patterns. Another one (Spirits Of A Dawn) cautiously takes a listener to a personal journey to the edge of an imaginary big city, leaving its downtown, and moving out of the night shade slowly, coming near a sleepy morning glimmering focusing on a light sparks of a new day. The last but not the least track (Traffic Love) is a dense powerful banger galvanizes trip-hop beats and house chords with a lush and mystic 90`s female vocal all together aimed to stir up a crowd on a dancefloor and make them wet and happy. This release – fresh and diverse – will definitely hits it off with a large audience and joins a marketplace properly.

Gennaro Giamundo AKA Genny G launches his new record label “Parsimonia” with the first instalment Parsimonia EP.

The package is comprised of 4 original tracks plus 1 remix by Artizhan. Vastly different in their presentation the tracks explore the fringe of deep and house music with bouncing synths, vocals, percussion drums all tied together with fretless baselines.

Limited of 250 copies handmade with insert and artwork (incl. digital code for download release + 2 bonus tracks).

From their early singles and their 1993 Mercury Music Prize winning debut album to their break up in 2003 , Suede were a fixture in the single and album charts , and in the music press too . They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B sides even charted at # 9.

The band reformed for a one off charity concert in 2010 and decided to make it permanent they have released three new studio albums since 2013 .

Compiled by the band , this comprehensive six LP set features the huge 90s hits like “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “Trash, “Filmstar”, “Lazy”, “Beautiful Ones”, “Saturday Night”, “Electricity”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”Enough”, along with favourite B sides like “To The Birds”, “My Insatiable One” and “Killing Of A Flashboy”Flashboy”. Also featured are classic album tracks like “The Asphalt World” and “He’s Gone”. The collection brings the story up to date with sixteen tracks from the three recent albums , including “Life Is Golden”, “It Starts And Ends With You” and “ Outsiders”.

The six LPs are pressed on 180 gram white vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens and dozens of items of Suede memorabilia and promotional items , all lent by fans.

Finnish DJ/ProducEr duo Cut BEEtlEz droppEd thEir dEbut privAtEly pressed High Jump 7” EP bAck in 2014. ThAnks to A hook up from lEgEndAry MC, DJ, vinyl vEtErAn And All round top fEllA OxygEn thEy sEcurEd A dEAl with AE Productions And rEturnEd in August 2017 with 12” singlE Droppin’ NEEdlEs fEAturing OxygEn And Soundsci crEwmAtEs AudEssEy and U-GEorgE.

SincE thEn Cut BEEtlEz hAvE bEEn mEticulously crAfting thE rEst of this Album whilE concurrEntly working with ThE Good PEoplE on thEir Cut PEoplE EP rElEAsEd in 2019 on FAbyl REcordings.

BEing thAt nEithEr J MAn or HP LovEscrAtch ArE MC’s thEy nEEdEd somE vocAl AssistAncE And rEcruitEd thE immEnsE tAlEnts of rEgulAr cohorts ThE Good PEoplE along with Guilty Simpson, RAh DiggA, El DA SEnsEi, J-LivE, OxygEn, REks, Truck and REtnA – All of whom wE’rE surE nEEd no introduction. ThE Droppin’ NEEdlEs mAin vErsion from thE singlE is Also includEd for good mEAsurE but thE rEmix rEmAins ExclusivE to thE 12”. EyE cAtching Artwork by thE EvEr AmAzing Mr Krum finishEs off thE pAckAgE nicEly!

Infernal Sounds welcome back the heavyweight Von D, as he delivers the gargantuan three-track Hunedoara EP, fresh off the back of his debut release on Deep Medi. Spanning way back to 004 on the label in which he made his debut on Infernal Sounds with two tracks 'Cross Of Hendaye' & 'Finis Gloriae Mundi', he drives a different style and reflection on this endeavour. The title-track 'Hunedoara' is the crowd pleaser - hitting you with the heavyweight stomping war chant, whereas both 'Akasha' and the textural 'Layers' on the B-side are melody centered and display the more playful side to the French producers repertoire. Having already received the backing from the likes of Truth, DJ Squarewave, and many other reputable artists in the scene, this is a plate that's armed for the dance or for playing at home.

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.

Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.

To call the Reverend John Wilkins a national treasure would not be an overstatement.  He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.

Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”

But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”

And there is much to celebrate with this resurrection.

Following the first episode, Drivecom presents the second part of the Generative Operations series. It continues with the dark,

technical and minimal concept of music mixed toguether with contemporary, cinematic elements and experimental sounds and textures.

The vision and workflow keeps up the same vibe as with the first ep and you will find more synth lines involved into a generative structure from complex and massive modular patches. The sequencing is always different each time every track is being played back giving us a unique listening.

About the sound design all the tracks have a cinematic vibe as in the first 12”. Always looking for a situation where cinema meets electronic music as being planned as a film sound track. Also constructed from the point of view of a minimalistic vision, you’ll find long progressions and small details focused in electro rhythms as a basic and main structure.

In the other hand all the tracks have a common target: a cinematic vibe. As if they were composed thinking about to fit in any sci-fi thriller movie. Again we can hear massive granular sythesis pads, background noises, experimental compression routines that help to fullfill the Generative Operation series.

The limited edition vinyl has been pressed in 180gr. keeping up the analog character sound in this format, meanwhile the digital version will be a clearer and clinical one.

Driving and minimal 4-to-the-floor primetime slammers with catchy vocals backed by some totally wicked Christopher Rau remixmadness!

From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.

Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.

Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.

The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.

In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.

This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.

Zwei Generationen deutscher Techno-Duos kommen für den neuesten Second State-Release zusammen: Die Labelheads Pan-Pot remixen den 1999er Klassiker "My Mind" von Motion Unit und liefern drei Versionen, die unterschiedlicher nicht sein könnten. Den Start macht eine stramme Techno-Nummer ("Radar Remix"), gefolgt von einer eher zurückgehaltenen Interpretation mit stimmungsvollem After-Hours-Vibe ("Future Remix"). Der "Galactica Remix", eine trippige Version mit gebrochenen Beats und schwammigen Pads, rundet die EP perfekt ab.

Vanish is Julia Reidy’s yearning, fat debut for Editions Mego. Since 2019, Julia’s bubbling 12-string guitar work - sighing streams of crystal plucks drawn closer or echoing on - has moored a tactile, ever-lusher sound. On ‘Guitar’, the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion.

Reidy’s music sweeps you up. It’s restless, always travelling on. Lonesome tones into machine chorales into hesitant hum. The LP’s side-long cuts sway between scenes but are always rooted: Julia’s guitar and vocal lines seem mapped to the natural ebb and flow of breath and thought, they lull you as they push through vast and secret spaces.

Vanish completes a trio of releases begun with last year’s ‘brace, brace’ (Slip) and ‘In Real Life’ (Black Truffle). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album’s sense of build - electric licks rasping into glistening synths, punctured by distant kicks - feels freshest. When 'Oh Boy'’s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak.

The Analogue Cops' "Zigulí" E.P. for Vitamina is an earthshaking four trackers dancefloor banger which melts old- school roughness and cutting-edge spectral enhancement.

"Climate Exchange" and "Take your vitamina" wisely blend Chicago fuelled drums with ballistic delays, toward a frantic peak-time climax.

"Passage to the door" and "The green door" instill romantic acid madness from emerging minimalistic tight rhythms incautiously driving to a late-night daydream.

Following 2019’s release of Azymuth’s Demos (1973-75), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti’s private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history.

Featuring an instrumental take on Roberto and Erasmo Carlos’ 1969 Jovem Guarda hit “As Curvas da Estrada de Santos”, and spacey psych-folk oddity “Zé e Paraná”, the new 7” release via Far Out Recordings shines yet more light on this critical period for Azymuth.

As is the case with many of Brazil’s pop icons, Roberto and Erasmo Carlos had been backed by Bertrami, Malheiros and Conti either on stage, in the studio, or with compositions (in Bertami’s case) since the late sixties. Conti notes that “As Curvas da Estrada de Santos” was a big hit in Brazil when it came out in ‘69 and had already been covered by Elis Regina a year later.

But where both Elis’ version and the original were grand pop-rock ballads, Azymuth’s take is a moody, melodic jazz excursion, featuring Bertami’s incredible Hammond organ, Fender Rhodes and grand piano juggling, Ivan Mamao Conti’s distinctively tough drums, and unusually, Alex Malheiros plays a double bass instead of an electric one.

As the title suggests, “Zé e Paraná” is guitarist João Américo (Paraná) playing alongside Bertami’s Rhodes comping, synth embellishments and dreamy wordless vocals. While credited as the composer and guitarist on “Linha do Horizonte” a track from Azymuth’s debut album which would become the theme tune for a famous novella, Paraná has to this day, remained relatively unknown.

Both tracks were recorded in Jose Roberto Bertrami’s house in Rio de Janiero at some point between 1973-75. These tracks were not recorded in a professional studio, meaning the sound quality differs from other Azymuth releases. At Far Out we take great pride and extreme care in ensuring our releases and reissues are produced to the best possible sound quality. In this case the original source material had not aged well and was considerably damaged. The sound has been restored to the best possible condition but there is still some noticeable tape hiss and slight distortion on ‘Zé e Paraná’. For this reason, we strongly advise listening to preview clips before buying this release.

Keyboards: José Roberto Bertrami

Guitar: João Américo ‘Paraná’

Produced by Azymuth and José Roberto Bertrami

Recorded at José Roberto Bertrami’s home studio in

Laranjeiras, Rio De Janeiro, Brazil 1973

Issue and project co-ordinator: Joe Davis

Additional tape restoration by Daniel Maunick at the Sugar Shack

Mastered by Frank at Carvery Cuts

Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson.
These studio sessions were don't at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music.
The main distributor for A&C was Accent records. So the Soul Injections very first single "Stay off the moon" was released via Accent, as was Bill Brown's "Bip Bam" The group wasn't that
pleased with how Accent handle the releases so Bill took it upon himself to set up his own label called Brownstone records. Many musicians were called in for studio sessions these included
Doug Carn, organ; Kirk Lightsey, keyboards; Mel Bolton, guitars; Mel Lee, drums; Al Hall jr (trombones), Willaim 'Bill Henderson strings.
The label was met with some confrontation from other Hollywood labels and many of the Brownstone releases were told not to hit the shops by Mafia run labels. Later around 1975 Brownstone released a track by Everyday people feat Alexis "world full of people"....A now cult soul 45 ....We are pleased to give you our last outing for Bill and the Crew. "Dreamworld Fantasies" is a wonderful unissued 1977 modern soul disco tune dreaming of how our lives should be, flip it over and we have given you the rare previously released 1971 single of "Stay off the moon" a political message that still seems relevant today

Italian producer Roberto Semeraro aka Pearl River Sound drops his first collaboration with Z.I.P.P.O on Fides called ‘VST Intended’. Combining IDM, Jungle and Acid elements this record reminds of to the early AFX, Luke Vibert , U-Ziq primal sounds. Completing this package on the B side two stomping remixes by Clone Records affiliate Ryan James Ford and Electro mysterious producer 2030.

Prolific American artist Jon Hester returns to Rekids for the first instalment of his new album, ‘Converge’, this September.

Jon Hester grew up in the Midwest US, living in Chicago and Minneapolis while taking musical cues from Detroit. Initially he was a dancer, and later transitioned to the decks with a refined understanding of what it takes to move a club. He progressed to hosting his own events, holding residencies, and working at a record shop, and now brings his physical rhythms and adventurous drums to his productions, with output on respected labels such as Transmat, Deeply Rooted, Dystopian, Klockworks, and LET Recordings, not to mention multiple appearances on Rekids.

Continuing to show fine form on his debut album, Hester now serves up eight of his signature house and techno fusions with plenty of his trademark directness across four sides of vinyl. The superb 'Sending Signals' opens the album with scene-setting synth modulations full of sci-fi atmosphere. It's the calm before the storm as 'Metropolitan' then immediately sets off on a cantering groove that is eventually run through with busy, jazzy piano keys that bring the soul.

'Haze' has excellently taught kick drums with hypnotic synth tones adding colour, and features Hester on saxophone. When 'Rain' comes, things grow darker and more menacing, with shakers and urgent stabs keeping you moving at a slick pace.

The second half of this compelling record features the loopy punches and pulses of the super smooth 'Dreamstate', beautifully cosmic and widescreen techno of 'Free' and pensive but urgent deep electro of standout cut 'Flex.' Last of all, 'Equinox' is lit up with distant chords which bring a far-sighted gaze to the rolling, robust kicks.

Limited to only 300 copies this trio of tracks dangled in classic disco juice is one of Picnic Records finest.

"Disco Ynferno" is not quite a cover of The Tramps hit but borrows the lyrics to stay in theme with the release. A driving deep house groove, 909 drums gets things moving and when the big buzzy bass, smooth breaks and nonchalant vocals drop at the halfway point it just feels right.

Company B's Hi-NRG banger get chuggified. "Phasinated" vocals by Aussie soul diva 'Ofa Fotu shine through this deep and funky 110bpm disco groover. Tropical percussion sits underneath a bouncy electro synth bass. A bit of a Crooked Man vibe going on.


The stand out, "Dubbing Alive", a tropical dubbed out version of arguably the biggest disco track ever. It just settles in and washes you with familiar melodies pushed along by a weirdly amazing honky bass. Perfect for coming up, coming down or a Sunday session down the pub.

Gil Scott-Heron was one of the foremost singer-songwriters of his generation. A committed
civil rights activist that also wrote a couple of unusual novels exploring negative elements of
the black experience and the punitive societal attitude against black people in the United
States, Scott-Heron recorded an exceptional body of work during the 1970s and 80s, and
although longstanding issues with drug addiction resulted in repeated bouts of imprisonment
and an ultimately shortened lifespan, he continued to produce noteworthy material into the
new millennium. Anyone that had the pleasure of seeing Scott-Heron and His Amnesia
Express band during the mid-1980s is unlikely to forget it; percussionist Larry McDonald,
drummer Rodney Young, saxophonist Ron Holloway and backing vocalist/keyboardist Kim
Jordan provide a full yet uncluttered backdrop to the man and his piano, as evidenced by
these stunning excerpts from the summer 1986 tour, with “Winter In America,”
“Johannesburg,” “Blue Collar” and “Shut ‘Em Down” being among the standouts.

Notes From The Forest Floor was originally premiered in a different form in July 2015 at The ICA as part of an evenings event dedicated to the work of Italian composer Giacinto Scelsi. Played in almost pitch dark the hour long piece was played prior to a concert of work by and inspired by Scelsi. Chris responded to Scelsi's microtonal works using recording of insects and other wildlife/environmental sounds from La Selva tropical rain forest reserve in Costa Rica. An edited shorter piece from this installation was on the Scelsi Ep titled Invertebrate Harmonics which gathered great reviews from the Quietus to the Vinyl Factory. Whilst working with Chris again this year having had the stereo ICA installation version sitting on his hard drive for 5 years Adrian Corker asked Chris if he would be interested in releasing it.Chris was soon after heading back to Costa Rica working with David Attenborough and offered to make new recordings and develop the original piece.

Georgia Rodgers Line Of Parts was originally premiered at Huddersfield Contemporary Music Festival in 2019 as part of the Huddersfield Professional Development Programme for Female Composers of Electronic Music project. Originally having trained a an acoustician Rodgers work is concerned with" timbral detail". She has had work performed by ensembles such as Apartment House and The Riot Ensemble but for Line of Parts worked with the Huddersfield Immersive Sound System(HISS) using its network of 48 channels and 66 speakers.The piece and stereo mix down of this work is composed of field recordings made in the Cairngorms and North London, sine waves and voice.

LIMITED REMASTERED VINYL REPRESS WITH NEW COVER ART AND SLEEVE NOTES.

The mythology that has grown around The La’s has made them one of the most enigmatic bands of the last few decades. The story began in a hard hit Liverpool in 1984, when Mike Badger teamed up with local lad Lee Mavers to write and sing their way out of the rut the city was in.

Over the next two years they co-wrote material inspired by their love of 'roots' music such as: Bo Diddley, raw 1950s Rockabilly, Captain Beefheart and the punk bands they had both seen in local club Eric's a few years before. Early reviews called them ‘Surreal Rock ‘n’ Roll’ (Melody Maker) or 'Tom Waits could have dreamt up The La's 'Sweet 35' (NME)

These earliest La's recordings that now appear here on limited edition vinyl are raw & spirited, defining a unique, creative time in the band’s history and firmly point the way to future success.

'Had The La's been able to accommodate Badger and Mavers could world domination have been far away?'MOJO

Record Kicks announces a reissue of mega in-demand Calibro 35 legendary self-titled debut LP.

Record Kicks proudly announces the reissue of CALIBRO 35 self-titled legendary debut full length. The publication is part of a trilogy that will see the Milan label reissuing on wax and digitally the first 3 mega in-demand albums of the Italian cinematic-funk cult band. "Calibro 35" will be reprinted on a limited edition LP on October 2nd and it will released digitally on a Deluxe Edition version on September 25th. The Deluxe Edition will be available on all digital stores and it includes 5 bonus tracks such as "La Polizia Sta A Guardare" by Stelvio Cipriani, the original recording "E Nessuno Si Farà Del Male" and an alternative version of the Calibro's seminal hit "Notte in Bovisa". Going back to where it all began, Calibro 35's mythical debut LP is an explosive homage to groovy 1970's Italian-cop-film soundtracks, and to the golden age of Italian Soundtrack music by likes of Ennio Morricone, Luis Bacalov, Franco Micalizzi and Armando Trovajoli. Originally released in 2008, the LP is super rare and impossible to find on vinyl. By popular demand, a reissue finally sees the light of day on a limited edition Gatefold LP that includes digital download of the bonus tracks.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their ten-year career, they were sampled by Dr. Dre on his "Compton" album as well as by Jay-Z and The Child of Lov & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, among others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 can now count on a number of aficionados worldwide, including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Alexis Cabrera debuts on FUSE sister imprint Infuse as he releases his four-track ‘Acidity’ EP.

Argentinian born, Berlin-based producer and live act Alexis Cabrera has emerged as one of South America’s finest electronic music exports with a string of stand-out releases via the likes of Raum…Musik, Moscow, Yaji and Salty Nuts over the past few years alone. A co-founder of Fun Records alongside fellow Argentian Barem, Cabrera’s sophisticated, groove-heavy sound combined with his impressive live performances have seen him take to world renowned venues such as Watergate, Tresor and Hoppetosse in his adopted hometown, and September now welcomes another ‘feather in his cap’ as he makes his debut on FUSE sister imprint Infuse to deliver his four-track ‘Acidity’ EP.

Taking cues from its title, lead cut ‘Acidity’ unveils a bubbling acid-driven production guided by sweeping synths and slick drum licks, whilst ‘Bulevardò’ journeys through warping electronics, shuffling percussion and off-kilter vocal murmurs to offer up a twisting, hypnotic ride. Next up, ‘Tocado’ introduces an infectious medley of organic drums, resonant bass melodies and icy hats, before closing proceedings via the jazzy chords and funk-heavy bass licks of the infectious ‘Esa Vaina’.

Coladera is a merge of friendship and talent formed by Vitor Santana from Brazil and Joao Pires from Portugal. Both artists were eager to create a sound which they felt was missing in the Lusophone world: a true refelection between Portugal, Brazil and West Africa, especially Cape Verde and Angola.

With their latest Album "Lá Dôtu Lado" ("There on the other side") they created an authentic example of their dream, featuring songs which emphasizes the close musical and cultural ties within the Atlantic triangle. An epiphany on both sides of the Atlantic were the goddess called Yemajá on one side and Kianda on the other side. both are associated with the water and feminine mysteries.

VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:

Silent Servant (legendary dj/producer):

"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”

Martial Canterel (cult poster boy for 21st century minimal synth):

"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."

Muqata’a (Palestinian beatmaker):

"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."

Decimus (uncompromising esoteric artist):

"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."

The first vinyl release of 2020 on Nang, belongs to the Parisian producer and newcomer to the label, Kelton Prima. The veteran artist has been producing and Djing since the late 80's, also releasing under the alias of D_Tekt. Prima has released on the Belgian label Disco Praline, Chicago based imprint Mathematics Recordings, Pizzico Nobel and also has contributed remixes for Thieves Like Us and Plastique de Rêve among others. Along side him on this release features Hard Ton, the Italian artist, who released previously on NANG188. The duo deliver a cover version of Culture Club's 1983 hit, Miss Me Blind. The release sticks with a retro aesthetic, yet given a modern high impact make-over and features 4 edits.

The "Miss Me Blind" original takes you you on a voyage, straight to a dance floor worthy of the infamous New Dance Show in the late 80's. The upbeat, nu-disco grooves, with Solid bass lines (that later trans into squelchy acid affair) are counter balanced with Hard Tons sublime vocals. The Vintage drum machine sequence is perfectly matched with shimmering synths and guitar riffs.

Second on the release is the The Caribbean House "Vision". This edit takes things a little deeper with a modulating bass arpeggio, that pans across the stereo field. Spliced and pitched down vocal cuts feature in this version alongside chime bell melody and pads that creates a emotional ride.

DJ Rocca, the Italian producer a Nang Records regular, delivers a rhythmic and percussive remix. This is classic Rocca style with retro drum machine programming, and a variety of smooth and silky Italo synth patches. The final edit of "Miss Me Blind" consists of Club Domani's bouncy, bass heavy club version. This upbeat and energetic remix keeping things rolling with break-downs and snare filled drops.


b 02: Miss Me Blind (The Caribbean House Vision) feat. Hard Ton
[c] 03: Miss Me Blind (DJ Rocca Italo Vocal Remix) [feat. Hard Ton]
[d] 04: Miss Me Blind (Club Domani Remix) [feat. Hard Ton]

The long-awaited follow up to 2016’s “Hi Vibe” EP, *GCR010# is the code that dumps our inner-space cadets from their deep space stasis and back into our timeline. Hot off the data logger, “Dream Running” – five robust runtimes of creamy electro-ambience and bubbled-over balearica, equally suited to inter-dimensional cryosleep and share house kick ons, coded by hand and compiled with love by Long Body. Defrost your own frozen dreams with this study for guitar and synthesizer in the enduring tradition of Andrew Duffield (Round The Twist) and hot-wire your waking reality today!

Three old school Rave tunes from the Killerhertz archives remastered and pressed to a Ltd Edition (300) Marbled Colour Vinyl. Includes the most wanted Angelraw Mix of "Distant Dream"

Official Mr Bongo coloured vinyl re-issue for Record Store Day 2020

Asha's debut self-titled album is a wonderful fusion of jazz, soul, blues, and disco. It includes an outstanding cover version of J.J. Cale's ‘Right Down Here’; a track which Asha has made very much her own by flipping it into a deep-funk groove with sultry ethereal vocals and a drumbeat almost ready-made for samplers of the future.

The record was produced in the UK by Del Newman, who had worked with Carly Simon, Cat Stevens, and Elton John to name a few. It was released on London CBS records in 1973. Shortly after the release of the record, Asha (who was born in Mumbai), was banned by the Home Office from working in the UK for a period of time due to visa issues. These obstacles along with problems with her recording contract did not hold her back. Asha moved on and continued her musical journey elsewhere. This resulted in further astounding creative works that Mr Bongo will also be presenting soon.

For this special RSD special edition we have pressed on sky blue vinyl to bring out the colours of Asha's stunning dress that she wears for the cover portrait.

Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.

This September 25, The Prince Estate, in partnership with Warner Records/Rhino UK, will reissue Sign O’ The Times. This 4LP Deluxe Edition will feature the classic album remastered for the very first time by Prince’s original mastering engineer Bernie Grundman, along with single mixes and edits released in the period the album was released.

On August 21st rising DJ/producer Haider presents the ‘Endless Clouds’ EP on his own label Breaker Breaker, where pristine future electro meets high tech funk and raw, jacking house. This new release follows praise from a wide selection of world-class DJs and media for his past 12”s, not to mention achievements as label owner, party promoter, canny early spotter of talent and general proactive instigator. Now based in Berlin but originally from Sheffield via a stint in London, there’s a commonality throughout all of Haider Masroor’s music that links both thematically and geographically. His
productions recall both Steel City bleep and its distant younger cousin bassline, using only sparse elements, with beats and bass at the fore, to deadly effect. London is audible too via
the spiky energy of grime and the swinging shuffle of UK funky, and so is Berlin, evident in the sleek sheen and efficient precision.
On ‘Maracuja’ lush pads, pitched-up vocal snippets, bleeps and proper electro beats ride atop a deep, purring bassline that unfurls like giant waves, with sub bass punctuation adding further hefty depth.
The bouncy, punchy beats and pristine gleam of ‘I Came To Destroy’ are somewhere between celestial Miami bass and the aquatic grooves of Drexciya, again propelled by gigantic slo-mo bass tones.
A modern take on the cut-up samples of 90s house, on ‘Grove Street’ Haider mixes elements of classic French touch, Chicago rawness and low fi outsider grit, to create something very enticing indeed.

The Art Of Us (TAOU) begins with the story of Blair French, a cosmic messenger raised in a house of 7 on the outskirts of a historic city. From dancing at mom's disco parties at a young age, to releasing rap tapes in middle school, winning best soundtrack for the multi-award-winning film DETROPIA and hitting the Billboard charts with his Pure Sounds of Michigan compilation; ultimately French found a home in the world of all things Detroit, Pan-African, Balearic, and ambient. TAOU is his first instrumental LP under his own name, (despite a 25 year career), bringing together his closest musical compatriots.

Melodious hardfloor and hardtek. Banging and exciting. Notice a Rap 2 min long tune for the B3.

Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.

Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.

With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.

Good Company Records awakens from a deep slumber to present two new West Coast dreamscapes, proudly written and recorded on Noongar boodja (its local country). Up first is GCR009, the debut LP from Leaving (Rupert Thomas), featuring deep drones and gutsy ambience recorded between 2013 and 2017 - available digitally and as a limited edition 12” (release forthcoming). Thomas’ inimitable wavescaping is complemented by local photographer Duncan Wright’s aerial landscape on the cover, and speaks to the record’s special connection to its country – sound and image forming the perfect package for a cheeky meditation on your morning commute, first brew of the day in hand, or cuddled up somewhere comfy, resonating harmoniously with your beloved.

Following a stellar run of recent releases including best-of-year EPs from the likes of DJ Plead and DJ JM, Nervous Horizon are back with their first record of 2020 — a unique new collaborative EP by object blue and label co-head, TSVI. Out on September 25th, ‘Hyperaesthesia’ details four sweltering new club tracks — described by the pair as “body music” — that mesh together object blue’s widescreen, experimental club tones and TSVI’s borderless percussive styles. “I was curious to see how TSVI and I could merge our sounds, whether we could supplement each other without eclipsing one another, and I'm so happy with the result”, explains object blue. “I never thought I could write with somebody else but this happened so easily. It's been a liberating process, just a pure pursuit of fun, yelling in our chairs when we dropped the beat.” Inspired by ‘ever-present conversations about machines and sentience’, the EP’s mechanical crux plays out in the narrative of the tracks too; from a sense of machines ‘waking up’ on near 8-minute opener ‘Thought Experiment’ to the frantic, processing energy of ‘Turing Machine’. The record also comes complete with a special remix by Loraine James and vinyl-only bonus track, ‘Syntax’. ‘Hyperaesthesia’ follows a fruitful 12 months for both object blue and TSVI: Following the release of her breakthrough debut EP, ‘Do You Plan To End A Siege?’, for Tobago Tracks back in 2018, object blue has since become one of dance music’s most crucial new artists. As well as releasing her third, critically acclaimed EP last summer (‘FIGURE BESIDE ME’), she’s turned in remixes for everyone from Murlo to Seb Wildblood, been invited to record a BBC R1 guest mix for Benji B and performed live at Paris Fashion Week, after composing the music for Andreas Kronthaler for Vivienne Westwood SS20. object blue was also announced a SHAPE artist for 2020 earlier this year, alongside artists like Afrodeutsche, Rian Treanor, Jay Glass Dubs, Oli XL and more. TSVI’s upward trajectory shows no sign of slowing down either. From the release of his enchanting debut album ‘Inner Worlds’ in 2018, he’s since gone on to put out a series of game-changing records under his Anunaku moniker for both Nic Tasker’s AD93 label and Martyn’s 3024 imprint, including July’s ‘032’ — a joint EP written with DJ Plead. Alongside fellow co-heads Wallwork and Federico Ciampolini, he’s also overseen the rise of Nervous Horizon since the label’s inception in 2015, moulding it into of the UK’s trailblazing new-school dance labels.

Searching for new ways to express himself, Maarten Smeets (one half of Detroit Swindle) has found a new perspective on music in his alter ego “Wanderist”. Here, he shares his unique view on contemporary electronic music with strong influences from dub, electro, techno and ambient in tempo’s that match the intensity, funk and drive of his sound. As Wanderist, he has been writing some of his more abstract work of recent times. His sound is melancholic yet euphoric, using powerful loops and dreamlike melodies to create a dense flow in his compositions. His debut release is signed to Aus music later in 2020 and he has also launched his own label titled ‘Transient Nature’ where his own work will be released along with the work of like-minded artists. With a large catalog of music ready to release and collaborations with various labels planned for 2021, the future is bright for Wanderist.

Sangam comes to Forgot Imprint with a double cassette release.

The first release 'We Surrender in Grey' on the A side is all new material of dark, ambient dance music featuring Sangam's trademark synths recalling a lost void mixed with hard hitting kicks.

The second release 'Facing Reality, (You're not Here)' on the B side was released on Lost In The Rain of Our Tears and will now be available on cassette 9/19 in Edition of 25.

The prolific artist has released on labels such as Dream Catalogue, Lobster Theremin, Pure Life, and Doomtrip Records.

‘Nordic Soul’ singer, producer, composer and DJ Astrid Engberg feels the light on new album, Tulpa. Overcoming a life-changing brain trauma through sonic explorations of contemporary electronic-organic jazz layered with strings, horns and percussive minimalism. Interplaying between contemporary soul, classical, electronic music, jazz improvisation and her hiphop roots, Astrid sketches sonic landscapes that are both steeped in her Scandinavian roots and infused with the kaleidoscopic hues of her many travels.

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It is an open exploration of music and the soul.

The band’s last release to feature Merv Pepler and Joie Hinton, who left to form Eat Static, ‘Arborescence’ was the Ozrics’ fifth studio effort in as many years. Soundscape textures remained their focus and their strength, with the now trademark Steve Hillage-esque guitar, gurgling and whirling synths and tight rhythm section all wrapped around rave, techno, African and Middle Eastern influences.
The tracks alternate between the power driven (‘Myriapod’, ‘Shima Koto’, ‘Astro Cortex’), classic Ozric Tentacles space rock (‘Dance of the Loomi’, ‘There’s a Planet Here’, the title track) and those with an ethnic flavour (‘Al-Saloog’).

The powerful music here, embellished by plenty of synth dweedling and strong rhythm patterns, takes the listener of open mind and free spirit to somewhere special. Classic Ozrics then.

‘Arborescence’ will be released on 180g red vinyl as the fourth title in the Ed Wynne remasters series on Kscope.

Finally! “Byron The Aquarius” debut on Apron.

After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Featuring Léonie Pernet, Pénélope Antena, Hyacinthe.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms.
Six years ago Clément Leveau gave birth to Jumo a musical avatar with whom he asserted a singular identity characterized by a sophisticated production of heady melodies and a cinematographic atmosphere allowing him to give free rein to his passion for the image. The release of the Radio Nova hit 'Aléa' marked the beginning of a fruitful collaboration with the Parisian label Nowadays Records (Fakear, La Fine Equipe, Clément Bazin, Leska). As a graphic designer Clément makes Jumo a true transdisciplinary project in which sound and video feed off each other, putting his collective Cela at the service of a dark and arty visual universe that perfectly matches the contours of his music.
After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms. “L’exode”, first single of the album, is a perfect example. It gives the album’s tone and also dives us into Jumo’s powerful aesthetic thanks to the music video.
“Steve (Ft. Léonie Pernet), is a tribute to Steve Maia Caniçot, young man who dramatically died during a police charge on Nantes docks on June 21st, 2019. A track on which Jumo confronts with Léonie Pernet’s grunge intonations, an unexpected collaboration sounding like an evidence.
Another main track of the album is “Une Belle Personne (Ft. Oré)” where the producer’s synths converse with the French singer and offer us an original and efficient pop song.
The great Awir Leon, the French rapper Hyacinthe, Hier Soir (Jumo’s side project) and Penelope Antena complete the cast of an album that goes from the calm contemplation of the world to the underground clubs filled with energy.

Blocaus series is back with it's 8th release, "Gods & Robots" EP by rising French artist Ruhbarb for his debut EP on the label. Involved with labels such as Materia and Odd Oven, Ruhbarb's sound is a mixture between techno, dub and ambient, nurturing a tone that is driving, groovy and dark, but always loaded with great emotional depth. Part of a promising new generation of French producers and DJ's, Ruhbarb delivers 4 fantastic cuts in his own personal style including on the B side two killer remixes from Answer Code Request and Antigone.

To challenge the leader of the five element ninjas, Shaw Cuts lines up a heavy squad on the next record, armed with versatile remixes of Farron's "Five Element Ninjas EP": Pugilist, Substance, Jonas Friedlich and Realitycheck.

First off the mark, Pugilist launches into battle dealing forceful blows with his version of "Liquid Shorts". Whirlwind breaks, sharp drum patterns and cavernous chords, lacerate the ninja leader. The heat is on!

Substance rolls in to support, shredding the field with his remix of "Contaship". With blood-spattered pads, a gargantuan rolling groove and harmonic synth elements, he brings the villain to his knees.

Jonas Friedlich blazes in with his remake of "Brooklyn Banks", catching the leader off-guard with dirty Hip-Hop rhythmics, swirling vocals and twist of the original's lead synth. The leader lurches forward...

Realitycheck furiously steps into the clash. His remix version of "It's Only 4 Life" circles the field, its propelling rhythm and floating percussions closing in on the enemy.

The target surrounded, attacking from four sides with full force and allegiance, they execute the ninja leader in one sweep.
The battle leaves them with deep scars, but suffering, like fate and death, is part of life. And through it, the strongest souls emerge.

GROUNDSWELLS’ is the third chapter in Wren’s seasonal lore exploration, and their first through Gizeh Records. These six melancholy-shrouded sonic ruminations swell between intimate performances devoid of adornment, and evolving soundscapes of auditory ruin. Tracing an elemental arch, 'GROUNDSWELLS' captures Wren delving into earthen awakenings.

Launching into a monochromatic dirge, ‘Chromed’ announces the LPs stylistic intentions, forgoing the trappings of traditional harmony with deliberate pendulums of pitch and tone. Swarms of percussion drag the track to its conclusion in a collage of insidious feedback, with oscillations sculpted by the record’s producer, Scott Evans of Kowloon Walled City.

Elsewhere, swift variance is displayed in Wrens’ deft handling of genre and form, refusing to be solely one of either. The record courses between rigid post-punk, broad waves of dreaded sludge, and austere choral reverberations. Pulsating Krautrock themes present in their previous work are revisited, with a focus on embracing archetypal motorik technique, as the LP stretches compositions to their furthest tensions through profuse repetition, straining the cracks between.

Inviting physical, elemental surrounds into ‘Subterranean Messiah’, Wren allow space for the sudden cloudburst of Middle Farm Studios in the introductory passage via location recording, embracing the interplay between source and locality. Combined with the painterly fretwork and ghostly chants of Fvnerals, the collaboration seeks an emotive new path of melodic vulnerability. In contrast, the closing elegy is layered with disharmonious cycles of agonised cello from Jo Quail. As with other conclusions on the LP, the track's commitment to strained repetition is rewarded with sonic climaxes of blackened psychedelia, led by stalagmitic spirals of atonalism.

Throughout the LP, Wren draws from their long-standing apologue, with a partnership of vocalists showcasing a lyrical and vocal interplay thick with a dense lore new to their compositions. 'GROUNDSWELLS' brings Wren to an equinox in their earthly contemplations. Ruminating on the decaying inanition that engenders renewal, this record is a revelry in the cyclical, repetitious infinity of planetary permanence.

It's been three years since the last vinyl by Ntogn was unveiled and now we're glad to share with you the result of his venture through the recent winter.

'Smedjan' is inspired by the dwarven craftsmanship of Norse mythology. It is made completely with organic sounds gathered from, and recorded in, the forests of Bålsta which is rich with northern heritage. Everything you hear is either processed textures of birch wood blocks, layers of a custom made Ukrainian artisan mouth harp or the artist's own voice.

There is no synthesis in this record. The kick drums are made by hitting these pieces of wood against each other with contact microphones. Bass layers are extracted from bark scraping against bark. Hi hats are crafted by recorded fire of the same wood logs burning and ambiance is built from the forests where the trees grew and from the woodshed where the artist chopped the wood during winter to keep his cabin warm. The rhythms and sounds in this shed is what inspired the making of this record.

By shaping these sounds of wood and metal Ntogn strives to create a sonic experience that connects the listener to the old Norse stories of the dwarven craftsmanship of Svartalfheim. It is they who made the famous trinkets and weapons that empower the gods of Asgård through stories of trickery and despair which has later inspired tales and literature for over a thousand years.

The record has been distilled from material that was meant to become a two-hour live set specifically made for Mo:dem festival which was unfortunately cancelled due to the corona pandemic. It was also the foundation of the artist's thesis at the university of sound design where he made a study of the effects of organic sound on an electronic expression such as techno music.

It will be released digitally and as a 200 copy limited edition black vinyl adorned with an artwork drawn by the artist's partner Gabriella Holmström using the ashes of the same birch wood blocks that was used to make the sonic content.

The record has received early support from Francois X, Takaaki Itoh, Abstract Division, BLNDR and Rambadu to name a few.

*:･ﾟ✧*:･ﾟ✧

Ntogn en'togg-n is a conceptual electro-acoustic project developed by Hypnus Records' founder and sound design graduate Michel Iseneld (b. 1988, Sweden). It aims to breath life into a fascination for magic with the use of contemporary and classic sound design techniques. This has resulted in what Resident Advisor's William Lynch describes as 'fierce, artistic techno that sounds like little else out there' and a discography ranging from earth-shattering techno to dark, throbbing ambient excursions.

After spending nearly three years in isolation, deeply lost in literature on history, philosophy, occultism and epic fairy-tales; Michel developed an inner world which eventually found an outlet through the means of music in 2013. By the use of field recordings and various samplings of his voice and surroundings, something peculiar sprouted as his inner images started to manifest and mature into an organic sound inspired by the emerging hypnotic deep techno scene.

Today, all music is released on his own imprint Tome in order to preserve the projects' artistic freedom and originality. After two years of sound design studies at the university and a new-found passion for modular synthesis; there's plenty of music in store aimed to satiate the curious minds.

We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

Chicago based Tetrode mastermind Specter takes up the torch with a (too) long awaited solo EP on Into The Deep records. As a true soldier of the underground, Andres has been designing his sound for two decades, bridging the gap between Chicago and Detroit. A spectacular EP exploring jazz, raw, deep and spacey territories from one master of the genre: that's what Dreamscape is all about.

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

Cogitate is the first release from NYC local Promoter and an invitation to gaze inward and sit with sound. Borne of hours lost in loops, Promoter calls forth deep, dubby bass rumble, off-kilter rhythms and murky atmospherics, relishing in repetition and evolving subliminally but surely. Disorienting, engaging and engulfing, Cogitate is the 4th release on NYC-based Patience, catching you off guard then inviting you in.

Cogitate offers two cuts from the same cloth - one locked into the grid, the other drifting far above it. Both begin with shards of static cascading over submerged synth stabs - on Cogitate 1.1 a bassline bubbles up from below before a kick drum sneaks in and drops anchor, driving forward a slice of sparse zero gravity dub techno for a zonked out dancefloor in a dream. Cogitate 2.0 offers a pared back version of 1.1, slowed down and stripped of the rhythm section. A gentle brain scrub or a cascade of mind tricks depending on your headspace. Is the sequence evolving or is your perspective on it shifting? Does this sound like something I know or nothing at all? Has this been going for 3 minutes or 3 hours? Is this climax sublime or simply creepy?

Whatever it is, Promoter presents an opportunity to let the mind wander, and offers proof that repetition invites participation. Both cuts simmer in ambiguous emotion, never spelling out what to feel but allowing the listener to be their own trip commander.

Promoter is a new project from a life-long NYC resident, most recently releasing a couple of 12”s under the Image Man moniker, who for the most part would prefer that the music is received on it’s own terms, with a mind wide open.

Cogitate 1.1 was mixed by Mood Hut mixologist CZ Wang. Both tracks were mastered by M. Geddes Gengras.

Following this release will be an extremely limited cassette of material recorded in the same time and (head)space. Keep an ear to the ground for that one.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Reissue des zweiten von drei Alben des US-polnischen Braindance-Produzenten Bogdan Raczynksi, die 1999 auf Rephlex erschienen. "Samurai Math Beats" lag irgendwo zwischen dem Drill'n'Bass von Aphex Twin und Squarepusher und sonnengetränkter Electronica von Plone oder Boards Of Canada. Die Kollision aus hyperkinetischen Rhythmen und Spielhallenmelodien wies einer Vielzahl zukünftiger Mutationen den Weg, von den frenetischen BPM des Footwork bis zum dekonstruierten Pop von Mica Levi. Neu geschnitten auf schwarzem Doppelvinyl samt Download-Code und 4c-Poster. Die LP ist der zweite Raczynski-Release auf Disciples nach dem Sampler "Rave 'Till You Cry" (2019) mit unveröffentlichtem Material.

- "Classic braindance" - Hardwax
- "Bogdan was a massive inspiration for some of my tracks on the Drukqs album, the fact he was doing it all on a shit PC tracker… totally amazing. This was before 99.9 percent of people used the computer for everything. His records are so underrated." - Aphex Twin

“After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season.

Inspired by her encounter with author NK Jemisin’s Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin’s books. These are stories where a broken heart can tear apart a continent. In contrast to the precision- tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah’s collaborators - Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussions), and Nick Weiss (keyboards) - encircle her confrontational character studies with iridescent, cinematic chamber-bass moves.

These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah’s mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland’s “Don’t Despair” and acid-impressionist prodigy Lili Boulanger’s “Old Buddhist Prayer.” Album highlight “You, at the End” deploys a poem by poet-performer Kae Tempest to aching, rift-tearing ends, and french dream-trap wraith Lala &ce features on “Le Malentendu”.

The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker - a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah’s elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame.”

Introducing the first release on MARICAS Records from the Barcelona queer collective. After three years of living the Maricas techno-pervy-loving lifestyle and spreading their message of freedom and love in their hometown and beyond, it was time to share the music they love and live by. With their very own imprint, they strive to lift up and showcase their family of queer artists and spread their sound to parties and after parties all around the world.

The first EP is delivered by none other than resident and co-founders ISAbella. She makes her debut with a solid five tracker, which bounces between house and breaks, all with a touch of old school. Hard-hitting drums and crispy perc are blended with just the right amount of dirty Rave and Electro flavours.

The A side kicks off with the dance-floor-banger Extrema, a driving house weapon rich in synth textures and stabs. Each layer takes its turn to be heard over the fat bass line, before combining into a dense melodic texture at the climax. This is sure to crush any dance floor.

Side B features Contacto, which perfectly encapsulates the Maricas sound. Deep, dreamy layers of atmosphere and the ethereal, euphoric melodies floating above are driven forward by a crunchy breaks riff and an airy but tough four to the floor kick.

PRESSED ON ECO-FRIENDLY VINYL AT THE GREENEST PRESSING PLANT IN THE WORLD

The ends of days are ones with which Damian Lazarus is familiar, but, much like his biblical namesake, he too, has come back from the brink and risen to fight on, his career is interwoven with themes of survival and re-birth. Fittingly then, his second solo album does not wallow in our current dark times but charts a path of hope. Flourish, offers a glimpse of a new world worth living in and surviving for.

Flourish takes us through the many lives of Damian Lazarus, who, as he has grown older, and traversed the globe, has come to more deeply examine the role the dance floor plays in his own life and that of others. With parties cancelled, it would have been easy to wallow, but instead urgency took hold, and isolated Italian countryside Damian took the space to tackle the larger questions he has been grappling with for years.

As anyone who has watched Lazarus DJ can attest, his inspirations are deep and varied, criss-crossing show tunes, drum n bass, jazz, electro, soul, house, techno and everything in-between. This album reflects his immersion in a multitude of scenes over the years, from the early days of London drum n bass, to his role as a figurehead in the electroclash scene, and of course the significant impact his Crosstown Rebels label has had on contemporary underground house and techno. Flourish is far from a box of functional DJ tools, in the same way as Damian’s debut album Smoke The Monster Out or the more worldly outings in his brace of albums with the Ancient Moons. It’s a personal, brave and varied body of work. It’s also the work of an artist who has grown over the ten years since his last solo album. Lazarus plays with nuances of texture, tempo and style to create a rich and dense album that takes us on an odyssey that is at times both dark and uplifting. Vocals of his own cast an intimate shadow over the album with those of his sole collaborator Jem Cooke offering a soothing balance amidst the madness.

Damian’s work reminds us that however taxing the journeys there are always moments of beauty to be found.

Repress!

For its second release, Radiant Love sticks to family values. Paying homage to the party and label’s co-director and resident Byron Yeates, Byron’s Theme comes from the likes of Vani-T (one half of Berlin’s forceful, femme party Climax) and D. Tiffany (who threw down a ruthless remix on the label’s first release by Fio Fa). Together, they take the name of Pillow Queen – a semi-pejorative term for the kind of sub who expects to receive pleasure like a well catches rainwater. No reciprocation, just a reign of sexual passivity.


Their tracks, however, give plenty. “Byron’s Theme” presents a rich palette in its 2-minute buildup: a dry trance hook, high-end synths buzzing and wavering, pitch-shifted voice samples and a pan-flute ran through with tremolo. Throbbing, the 303 bassline picks up after a breakdown at the 4-minute mark, and only then does one realise the song’s still building. There’s still room in the last 40 seconds for some percussion modeled on a breakbeat loop – which is to say, the track is incredibly cheeky and hard-hitting – all that I would hope for in any lover.

While the EP’s first track feels wide, rangy, “Estrel Nights” opens the EP’s B-side in a much closer, tighter space. The build is percussive: bongo taps, claps, cowbell; then a hi-hat snaps things into shape, and in lopes the kick drum. And rhythm remains the central player here. It’s not until 3 minutes in that the percussion finds a melodic backdrop – a dreamy, detuned pad, choral, like a moan.

Ex-Terrestrial’s remix of “Byron’s Theme” repositions some of the elements and ratchets up the tempo of the original, but maintains its respiration: the energy and erotics flow into a different structure, closer to traditional trance, with sharp hi-hats and loopy arpeggios that phase in and out of syncopation, measure to measure. Diagonal, we incline to a climax that dizzily plateaus at 6 minutes, de-escalates and breaks down over the next 2, glows until it’s just a kick drum, slower, slower still; we’re catching our breath.

Monster garage rock 45 which might appeal to funk 45 collectors too! "Fire" is certainly one of the best cover versions of the Jimi Hendrix classic, drum breaks galore! The flip side is an original composition from the band and equally great.

Limitied to 250 copies!