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DJ Traytex showcases in his debut release with the Back Then EP on Loser Records, his skill with ambient breaks, with light, glittering melodies that trip over deep basslines and punchy rhythms. Soft, meandering cadences and flowing landscapes combine with a thumping, sometimes brittle drive in the breaks, making this EP as cerebral and emotive as it is atmospheric and danceable: just as much for the private listener, as for a dancefloor vibrating at 5am.

Bringing a combination of two conceptual artists Ultrastretch 11 moves away from dance music to present this comtemporary off kilter.


On the A side, Montreal based producer Ohm Hourani, known for minimalistic jazz influenced works on his own imprint ANOMA and beyond, with compositions showcasing infusions of organic sounds combined with modular synthestisers, drum machines and vocalists such as his collaboration with award winning Jazz singer and Vocalist Diminique Fils Aime.


On this release he presents a 14 minute stripped down, intrinsically and subtly arranged combination of elements Initiale by a minimalistic kick drum joined by a synth driven, quirky / hypnotic mind drilling element paired with the finest straight hihats delicately placed on the background as the Constant. The subtle movement of the track is introduced by percussive drumming, vocals and piano keys forming the most beautiful atmospheric melody. The last element of surprise brings shuffling hihats bringing amazing swing to the overall elegantly slick piece.

The B side brings the highly sought-after drummer Samuel Rohrer. Ranging from ECM sideman to member of KAVE, a quartet alongside techno pioneer Max Loderbauer, Stian Westerhus and Tobias Freund as well as collaborative works with Ricardo Villalobos and Laurie Anderson, he is known for his unique sound aesthetics on advanced musical cross-pollination, developments of improvisation in acoustic jazz and wider horizons of live electronics.
Rohrer also brings a hypnotic reinterpretation but in a very different manner / mood than the A side. Initiated by strings combined with Rohrer’s tight drumming patterns at the forefront and bass line underneath as the constant, combination by which forms a tense yet peaceful core pattern to this track. To compliment this, synths create movement by adding cosmic and quirky sounds forming an atmospheric soundscape with the whispering vocal “shake it” on top. Overall, the paradoxical relationship between tight (rhythm) and lose (soundscape) is presented in perfect harmony with each other.

This music was composed for SKALAR, an audio-visual kinetic art installation by light artist Christopher Bauder & Kangding Ray SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Created by light artist Christopher Bauder and musician Kangding Ray, this monumental artwork is a reflection on the fundamental nature and essence of human emotions. By combining a vast array of kinetic mirrors and perfectly synchronized moving lights with a sophisticated multi-channel sound system, SKALAR offers an audio-visual narration of radiant light vector drawings and multi-dimensional sound in enormous pitch-dark spaces. SKALAR is an intense journey through the cycle of basic human emotions. Everchanging tonalities trigger the full spectrum of emotional experiences using light, sound, and motion. The feelings of awe, surprise, exhilaration, and anticipation of having one’s senses overwhelmed are created, explored, and repeated in cycles throughout the piece, providing a collective, yet highly individual emotional experience. Light and darkness as endless cycles of day and night define our perception of time and influence our emotions. SKALAR is a central piece within light artist Christopher Bauder’s body of work, reflecting his deep fascination with light. In this gigantic installation, light is treated as a solid material that can be dimensionally sculpted and shaped, evoking abstract emotional associations. Intertwined with the tireless exploration of textures, rhythm, and sound design by musician and composer Kangding Ray, the silence of darkness is filled with iridescent forms of spatial light and sound. The original composition is spatialised in 360° over a 12 channels sound system, this stereo version has been mixed and mastered to convey a similar sense of space.
As of the release of this record, SKALAR has been presented in Berlin (Kraftwerk) in 2018,
in Mexico City (Frontón) in 2019 & in Amsterdam (Gashouder) in 2020. Fore more information about the piece and its concept, please visit skalar.art

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.



Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage - a self-styled fusion Kamaal describes as Wu Funk.



New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.



Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

In these turbulent times we have managed to release six pieces of wax to date.This is something to be proud of, and of course we are.

For this sixth slice of plastic we have Kalter Ende on board and it’s a real pleasure. From his bunker hidden somewhere in the middle of the peninsula, he runs his label Concerns Music and his mastering studio Reborn.

On the production side he has lately gone into modular, and you can clearly feel the machines in his productions and in his amazing live act.

For this release he has cooked up five cuts of modern and complex techno, carefully crafted, nothing easy or predictable. Mujo, the opening track, is a clear example.

Jōshahissui follows slow paced grooves, crispy analogue percussion, linear hypnotic sequences and a wise and dynamic arrangement. You can feel the circuits singing in this one.

Sengoku introduces distortion and harshness, a diffused kick drum and processed synth lines running together from the beginning until flanged sequences come on top, a weird marriage of overdrive and deepness.

Closing the release, Senran explores the profound side of techno, clear synthetic drums, liquid synths, elastic bleeps, again on a complex and wise arrangement.

As digital bonus we include the track Ran, again a precise electronic workout made of continuous synth lines and sharp rhythms.

Five timeless pieces of danceable electronic music, away from trends, far from the easiness, done by professionals for professionals. Touchable, collectable and physical as every piece of vinyl is.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Following on from the recent and well received half-speed masters of
‘Amplified Heart’ and ‘Walking Wounded’, Buzzin’ Fly are proud to release EBTG’s 1999 album ‘Temperamental’. The album is a follow on from the global success of Walking Wounded in 1996 and features a myriad of rhythmic pop styles, including deep house grooves, fierce drum & bass and hip-hop infused funk. It contains the singles Five Fathoms, Blame and the title track Temperamental. The original vinyl was released on a limited edition ‘DJ friendly’ vinyl which is now a collectable item. The artwork for this new edition has been re-created
from the original source material to bring it in line with the original CD version. Like the previous two releases, it has been Mastered and Cut at half-speed by Miles Showell at London’s Abbey Road Studios.

Berlin club and party-starters Sameheads return to black wax on April 10th with “ZEUG!”, a 4-track EP from various celebrated artists, who join forces in new and unheard ways for a stack of outernational and spaced-out dancefloor jams for creative dance floors worldwide and beyond.

Berlin-based CROSSLUCID, AKA Sylwana Zybura and Tomas C. Toth, have delivered another stunning example of their perception-bending otherworldly viewpoint with the artwork for the release. A purely analog production, fusing clever lighting tricks, hand-made props, and a healthy dose of shaving foam and dry ice… This “Cult of the Cosmic Swamp” chimes with the weird tribal rhythms contained on the record.

First up is Mameen 3 (a side-project from Brussels selector DJ Sofa) & Romanian pioneer Rodion G.A with ‘Planet Cluj’, a suitably off-world excursion through a fun-packed disco hall in some far-off colony where layered synths are stacked, elements seeping through one another to form a mesh of groove.

Anatolian Weapons’ cosmic fireside ritual, ‘Chant 3’, heats up the A2 with vibrant and punchy percussion loops woven together with a worldwide chorus of chanters. Building continuously, the tough workout is dosed up with a bassline saturated in attitude for a high-energy finish.

Picking up on the B side are KRENG (a morphic form composed of Don’t DJ and Dane Close), who slow the pace down with a latticed beatwork combining robust dance formulas and blasting syncopation. Letting the rhythm do the legwork for the first half of the track, the pair then pour out a sludged mess of grime-infused bass over the percussive chaos.

Silvia Kastel and Wilted Woman close proceedings as SHAKEY with a dubwise workout that straddles b-side house obscurity and stoned live dub improvisation: steel drums patter at the windows of Paradise Garage as Larry Levan fights off the vampires alongside Scientist.

The release is celebrated at Sameheads on April 10th with an extremely rare live show from Rodion G. A., an appearance from INVERSIONS label owner Milo Smee, and a b2b from Don’t Dj & Dane Close. Limited to 300 pieces, this record will find a home in the stacks of DJ’s willing to step outside genre and convention.

HøRD is the solo project of Bordeaux-based synthwave producer Sebastien Carl. Started in 2014, Sebastien has proven himself to be able to gather a cult fan-base around his creation in a short time, collaborating with artists as Hante, Winter Severity Index and Black Bug and performing live in most European countries.

Debuted by Antoni Maiovvi and Vercetti Technicolor’s Giallo Disco, an EP on SNTS’ Sacred Court and a second full-length on Avant! have followed. Bodies is his third album and it shows eight new passages that take HøRD’s distinguishing features one step further once more.

Ethereal synths matching deep analogue beats, veiled vocals speaking of visions, memories, meaning and failing. Synthwave sounds like a soundtrack from the 80’s meet electro and techno mechanical rhythms along a stream of tracks that almost have no name so that the listener can just let them flow and flow with them, taking a journey away from the present time and into an abstract, dream-like modern dimension where the misty and the solid are one.

Autoroutes II by Pamplona's III3S (aka SuperSobreSaturado) is the soundtrack for a 21st-Century trip interconnecting continents and generations of Acid-House lovers and ravers. This record is a hard-driving journey into (Ph)uturistic sounds that takes it back to the Old School.
III3S knows that the best road-trips begin and/or end in Chicago (which is, after all, the start-point of the legendary Route 66) and he knows the start-point of any journey into Acid-House is Chicago's Phuture, the legendary masters whose "Acid Trax" created the genre in 1986. And so he is humbled to get remix support on this special edition vinyl release from none other than Phuture members Lothario Lee, Dj Spank-Spank, and Ron Maney aka Dj Skull.

A side
A68 (Acid Mix) A groovy analog bass-line rides a potent four to the floor kick while acid squelch rises over snapping rhythms of hats, snare and rolling rim-shots until deep chords bring light like the sunrise after an epic all-nighter.

B side
B1 A68 (Dj Spank Spank & Lothario Lee's Hard Acid Remix)
The Chicago legends and Acid-House inventors Dj Spank Spank & Lothario Lee step hard on the throttle by adding reverb and distortion to a crushing 4x4 kick. They push the drama of the original's rising minimalist melody by cranking up the 303 squelch and steadily building the snare-rolls and syncopated hi-hats.

B2 A68 (Ron Maney aka Dj Skull Remix)
Phuture's Dj Skull draws out the deep, groovy funk of the original's bass-line with a hypnotic, evolving rework.

Drumcode starts 2020 with a sterling EP from genre hero Thomas Schumacher, his first on the label after a long association with Adam Beyer. No ifs or buts, if you’re a techno fan, Thomas Schumacher holds a place in your heart. His 1997 classic ‘When I Rock’ still gets rinsed, he has a vast body of stellar work on his influential former label Spielzeug Schallplatten, including a release from Adam Beyer, and he continues to deliver pin-sharp productions via his Electric Ballroom imprint, including a scorching remix of ‘The House of House’, the 1994 classic from Cherry Moon Trax. The rework was first played by Beyer at Time Warp and has been a 2019 highlight.

He first contributed to Drumcode in 2018 with ‘The Unseen’, a stirring contribution to ‘A-Sides Vol.7’, setting up a maiden EP with ‘Crimson’. Crimson’ is crafted around two minutes of tension-building synths, before a beat finally appears and a rasping deep bassline commands the dancefloor. ‘Feist’ is a no-nonsense brain melter, as 303 arpeggios bloom and recede, creating a thrilling rhythmic intensity throughout lastly ‘Anker’ brings the rave with eagle-eye focus, unleashing a wall of fierce acid to round out off the release.

“Adam and I have both been producing and playing techno since the early 90's. I have deep respect for him as a person and artist. It’s an honour to have the opportunity to collaborate in this way.” – Thomas Schumacher

Soul Jazz Records' are releasing their long-out-of-print album 'Hustle! Reggae Disco' in a new expanded 2017 edition which now features five extra tracks. This ground-breaking album features non-stop killer reggae versions of original funk and soul classics in a disco style. Reggae disco updates of seminal classics by Anita Ward ('Ring
My Bell'), Chaka Khan ('I'm Every Woman'), Michael Jackson 'Don't Stop 'til You Get Enough,' Sugarhill Gang ('Rappers Delight' here performed by Derrick Laro and Trinity for producer Joe Gibbs) and more, all showing the hidden but inseparable link between the dance floors of New York, Kingston and London.

New bonus tracks to this collection include Derrick Harriott's funky take on Eddie Drennon's 'Do It Nice and Easy', the classic disco reggae of Risco Connection's take on McFadden and Whitehead's 'Ain't No Stopping Us Now' and the London rare groove lovers rock take on Barbara Acklin's soul classic 'Am I The Same Girl'.
'Hustle! Reggae Disco' has been one of Soul Jazz Records' best-selling releases since its first release 15 years ago (and subsequently featured heavily in the early Grand Theft Auto games!). This new edition comes complete fully re-mastered and with all original titles plus new tracks. This new expanded edition now comes a triple album (+ download code), CD and digital album.

'The effect of American R&B and soul music on Jamaican reggae is well documented, but the story doesn't stop there, for disco (and more so now for rap and hip-hop) have also been subsumed into the reggae mix, and while one might suspect that the resulting hybrid would die of its own implausibility, the feral mix of disco with reggae rhythms is so darn infectious that it hardly matters. Once you take your brain out of the frame and just let your feet go, this collection is a dancer's delight all done up in full-blown disco style, but with huge dub-style rhythm tracks ... if you're looking for an impossibly infectious dance collection, this is
it.' All Music

VincentIulian debuts on Subtil after his recently published EP on Atipic.

SBTL018 – called Various Whispers – kicks off with “Something”, a mesmeric groover, recurring layers of sequenced sounds and rhythmic patterns on side A.

On the flip side you find the particularly reduced track “Nue Tans”. Looping fragments of words merging with the drums wholly. The most notable characteristic of B2 “PWMA” is a bubbly synth bassline so rich and sugary that you might feel pangs of toothache.

The Liverpool-based DJ and producer ASOK returns to DVS1's Mistress Recordings with his most diversified EP yet: "Mistress 14" unfolds ASOK's raw, analog-heavy sound aesthetic full of broken kick drum patterns, stepping basslines, and lush synths.



With 25 years of record collecting, DJing, and promoting parties around the UK, there is little of the dance music spectrum that Stu Robinson has not been involved with. The Liverpool-based artist has amassed a fine understanding of a wide array of scenes, styles and sounds from drum & bass to electro-funk, disco to house and techno – underpinned by a love of breakbeat. The music under his alias ASOK is an amalgamation of this diversity that has found favor with labels like M>O>S, Lobster Theremin, Crème Organization, and Mistress Recordings.



"Mistress 14" opens with "Space Rockets" which is a nod to his breakier love affairs without using actual breakbeats. While second track "Is Anyone" displays his take on classic Chicago House with a little Roland JD-800 euphoria thrown in. On the flip, "Last Refuge" explores driving, rhythmical techno with ASOK's typical ravey pad-like break in the middle until "The Alchemist" closes the 12-inch by laying more focus on melody and texture with a growing, always changing bassline and an ethereal synth that carries the track's energy. The digital bonus track "Apano Sin" concludes the package with a scruffy somewhere in between everything vibe.



ASOK about Mistress 14:



"Mistress 14 is probably the most important EP I have ever made in terms of showing all the different things I am into. I’m difficult to pin down because I’m not really a techno DJ, or a house DJ, or anything like that. I like all forms of electronic dance music. As a DJ, I mix up old and new, familiar with unfamiliar, playing everything from Italo disco to really dark high-bpm breakbeat. As a producer, it’s not easy to put an EP together that covers a little of everything, yet still sounds cohesive. Especially considering that all my tracks were recorded in long live takes, then edited down with no ability to change parts. Sometimes that requires some pretty heavy editing, but that’s one of the good things you get when making music this way. I’m in control of the creative process, rather than feeling like some kind of colored block administrator drawing blocks out on arrangement view of my computer."

We are proud to release ‘Fortunate Isolation’ the sophomore album from Borusiade. Born and raised in Bucharest, Romania, Borusiade aka Miruna Boruzescu started DJ-ing in 2002 as one of the very few female DJs in the city’s emerging alternative clubbing scene. Influenced by a classical musical education, a bachelor in film direction and fascinated by raw electronic sounds, Borusiade first combined these universes in the construction of her DJ sets and starting 2005 also in her music production. A sound of her own has slowly crystallized, often dark with poignant bass lines, obsessive themes and by all means melodic. She has released EPs on labels like Pinkman, Unterton, Cititrax, Correspondant and Cómeme, who released her debut album ‘A Body’ in 2018.

‘Fortunate Isolation’ is perhaps Borusiade’s most personal release to date. Eight songs that capture a bystander witnessing the world as it undergoes drastic changes. We have disconnected ourselves from ecology, humanity, preservation, care for what surrounds us, for what is still alive. Borusiade adds, “| know that this place, our home has went through so many other extinctions, but | believe things will find their own way on this planet only once we are gone. Entropy creates a time-line but also a transformation - a new beginning.” The album’s sound is gloomy and powerful mixing sonic film sequences, rhythmic excursions and soothing yet obsessive vocals that touch one’s deepest senses. Lyrically the songs tackle themes of forgotten memories, spirituality, mortality, and destruction. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket designed by Eloise Leigh with decaying daguerreotypes against a rust color palette and includes an insert with lyrics.

“Cryptic, twilight emissions from Villalobos and Loderbauer; their synthetic compound of electronics and ouroboros jazz has walked from ECM and Perlon over to Mana.
Developing a sound that tends to drift along as otherworldly atmospheres and strange fusion, Vilod evade easy categorisation, even compared to Villalobos’ already experimental and genre-twisting solo minimal offerings. He and Loderbauer pull away the backbone inherent to the structure of that dance music, and The Clouds Know refines a deft and subtle musical noir built on ambient cues, sparks and claps of electricity, brushed drums, black voids and subterranean bass swoops. There's a twinkle in the eye and moments of deadpan levity, but the overall mood here is sober and introspective. Emotions run deep.

Through studio mastery and an enigmatic language the album forms a fascinating sonic and sensory work with few compromises. With erratic rhythms notably submerged—techno remains as an irregular pulse in the belly of the beast—fields of crisp, uncanny detail expand greatly. Humid environments appear, dense with the chatter of synthesised insects and the gentle rain of drums and whispering cymbals, enchanting the listener in focus or sublimating into layers of ambience depending on your disposition - and the quality of your stereo field.”

"Sounds Over Seas" is the new label bringing banging beats straight from the depths of the heart. Spearheaded by label head and DJ/Producer Julian Bainbridge, "Sounds Over Seas“ intention is to deliver groovy and dreamy vibes by new and established artists, whilst remaining genuine to its true nature; music not just for the dancefloor.

SOS001 brings all this together, delivering rhythmic and jacking beats on the A-Side and a more dreamy and spacious vibe on the reverse side.

green vinyl / full colour sleeve / incl dl. code

Klute, a.k.a. Tom Withers is no stranger to the LP format, Whatever It Takes is his 9th solo album. It was recorded over a period of 18 months in his own PBJ Studio, located in Suffolk.

Whatever It Takes contains Klute's signature blend of Drum & Bass, Hardcore, Jungle, House, Techno, Electro & Ambient stitched together with Klute' typical disregard for the rules of each genre.

Split into two halves, the album begins in high gear with 8 tracks of Drum & Bass. A rich pallet of D&B styles delicately layered with hidden depths and melancholic harmony. The album then shifts into Klute's own brand of House Techno & Electro, fully revealing his vivid tapestry of musical influences. The end result is highly original, individual and unique. Nobody sounds like Klute.

Klute on the album: "...with so much going on in the world and all the noise created by a growing instant culture I felt compelled to retreat into my own imagination and write individual chapters in melody and rhythm as a form of distraction and personal remedy. Early on in the process I made a conscious decision to make a wholly solo and instrumental record - the first time since my debut album CASUAL BODIES in 1998".
"There's something powerful in the mystique and imagination of music, closing your eyes and letting your mind and body loose to create its own visions. I feel that there is a lot of "surface" music around at the moment that physically dictates what you are supposed to feel. The music I love the most, the music that stays with me the longest is always the stuff that enters my subconscious state."

"Whatever It Takes" is an album for the long haul, to stand the test of time. Take your time, switch off your phone and listen and keep coming back for more.

Facts on Klute: Over the past 25 years Klute has established himself as a leader not just in the world of Drum & Bass but the entire Electronic music spectrum, counting a diverse range of luminaries amongst his fans, including the likes of Goldie, Laurent Garnier, Sasha, Mary Ann Hobbs, Doc Scott, Lee Burridge, Zane Lowe, Nastia, Andrew Weatherall, BT, and the sadly passed Marcus Intalex, David Bowie and late great John Peel.

Klute continues to tour the world as both an in demand DJ and drummer and singer in his hardcore band The Stupids.

Modularz is back once again with a stellar release this time from seasoned producer Paul Ritch. The French native is here to deliver five tracks of pulsating techno
breed for the club and another project that adheres to the flagship. The Modularz sound has become so distinct and this EP showcases those rhythmic bouncing basslines and deep riding kick drums. Nuit Blanche is four tracks of punchy dancefloor driving kick drums that are coupled with eccentric modulations and synths. Expect underground crevice hidden chords deep textured and dripping sounds. Some cuts deliver sci-fi alien beeps and stabs that would make any martian jealous. The hi-hats are icy and the snares hype inducing: no matter the pace each cut is a weapon.