Suche:drum dance

Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!

The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.

La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.

These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.

To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.

The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

Belgian drummer Kobe Gregoir has lived and worked in the Netherlands for over a decade, where he studied jazz and teaches at The Hague Conservatory. In his work he pays tribute to the 1950s and 1960s when jazz had its heyday.

For Fans Of... Thee Sacred Souls, Joey Quinones, Durand Jones & The Indications, Thee Midniters, The Altons, Trish Toledo, Sunny & The Sunliners.To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens. With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date. All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool. Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on. Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook. Also Available From Thee Sinseers: What's His Name 7”, It Was Only A Dream

LKEMY is a legendary Italo house producer from the Adriatic Riviera. Active since 1991 when his first 12″ was released, in the 1990s composed and produced several dozen tracks that are now cult favorites among young DJs and collectors of the genre. Now he returns to produce in the same style of the time two tracks that impressed two well-known Italian DJs, one of the old school and one of the new, who wanted to make their own versions. Dj Ralf, one of the most historical, notorious and active DJs in Italy, has remixed “Cloud” for his warm and intense Dj sets around Italy. In “Cloud Detox”, GNMR (Gianmaria Coccoluto) doesn’t approach as just a remixer; rather, he doesn’t distort or eliminate/replace the important parts of the track but transports and renews them in a new musical realm of his own. Where ethnic elements, live-played drums, and intentionally unquantized rhythms give birth to a unique body under the moon of Goa in India. Mysticisms, transcendental worlds, lengthy dances free from others’ judgment, and closer to supernatural contact make Detox a journey towards purification.

Toki Fuko – Hues Of Movement After his notable debut on
Submersive’s VA Osmotic Particles in 2021, Toki Fuko makes a
captivating return with his first solo release on the label. ‘Hues of
Movement’ comprises three original tracks and two remixes by Anthony Linell and Artefakt, embodying Submersive’s ethos of a deep, hypnotic journey into organic yet dancefloor-ready Techno. In the three original tracks, Toki Fuko once again mesmerizes with his evolving soundscapes. Electrical pulses are enhanced with expansive reverbs and woven into groovy drum sequences. The tracks gradually evolve, reminiscent of a drop of ink dispersing in water, inviting listeners to immerse themselves in the sound and lose control as they become one with the music. Anthony Linell, who performed at Submersive’s inaugural party in Paris in 2017, offers a Train remix that seamlessly bridges his signature style with Toki Fuko’s sound. The track emerges like a living entity, combining dub-influenced meditative atmospheres with ecstatic elements, growing into a full-length auditory experience.
Artefakt rounds off the release with their ‘Warble’ remix, taking listeners into depths where light cannot penetrate. The Dutch duo presents a darker take, subtly manipulating elements and maintaining high tension, keeping the end of this sonic adventure tantalizingly out of sight. Accompanying the EP is artwork by Swiss-Moroccan artist Zineb Mezzour, offering a fresh interpretation of the concepts of surface and water that Submersive explores in each release. Known for her intricate work on paper and ceramics that evoke a microscopic, organic, and spiritual world, Zineb has performed a unique visual for this vinyl. She began by drawing invisible shapes in water, then brought them to life by adding ink that transformed into unpredictable fractal shapes. This artistic process was captured to create both the cover and the video teaser for the EP.

SAICOBAB channels the vital energy of living music traditions through ecstatic performance. NRTYA, Sanskrit for "dance", explores the shared roots of Japanese and Indian spiritual practices in a tangible, intoxicating form. YoshimiO"s experiments in this field are well documented and legendary from her work in OOIOO to her work in the Boredoms. Multi-instrumentalist Yoshida Daikiti reveals the human hand that shapes living traditions, as much through his fluid playing as his own collection of handmade instruments, while percussionist and multi-instrumentalist Motoyuki "Hama" Hamamoto embodies the metaphysical power of rhythm. YoshimiO"s wild vocal acrobatics and inimitable range shift from hypnotic chants to ethereal atmospherics and darting melodies, ducking and weaving around Daikiti"s serpentine sitar figures and basslines. Hama"s solid rhythmic architectures and deft polyrhythms are here enhanced by additional drums from Taketawa Yo2ro, slipping from subtle pulses to thundering grooves that drive the music. SAICOBAB"s music exudes a true reverence for living musical traditions while remaining unbound by orthodoxy. The electrifying energy of the quartet"s performance is palpable in every track, eliminating established hierarchies with performer and listener alike entwined in the same cosmic dance.

LA-based DJ duo Guruku is back with their second release. The title track ‘Mesmerized’ has a throwback feel to the likes of The Gap Band, Prince, and D-Train. With a loose format, Rojai’s vocal builds the dubbed-out drums and heavy synth line that rises to an electrifying release with dirty hypnotic pads smothering a delicious bassline. Italy’s Giovanni Damico lays down a heavy bass textured to perfection with tasty vocoders throughout. Daniel T. (Cosmic Kids/DFA) takes rhythmic cues from B’more's Unruly Records while keeping close to his West Coast roots with a G-funk synth line riding high. What It Takes starts with a melodic, percussive Moog line that breaks into a full production of Rhodes, live bass, and early 80s drums. Rojai delivers a heartfelt love letter letting the one know they can stand the test of time. Rayko vs Wvp mix keeps the boogie alive with a cascading bass line for the dancefloor.


RIYL: Star Creature, Dam Funk, Ray Mang, and The Gap Band.

2024 Repress

Perc Trax unleashes its first release of 2021 with the latest in its white label remix series which has already given us Tymon's thunderous remix of Perc's Hyperlink and the diverse remixes of RVDE's 90s Hammer. For this instalment Perc Trax favourites Ghost In The Machine, Scalameriya and Furfriend team up with debutant EAS and label boss Perc for three remixes that aim directly at the dance floor.

First up Perc shows his love of working with vocals taking a firm grip of Furfriend's infamous 'Fist Fuck' to serve up a sweaty 4/4 pounder.

Next Scalameriya moulds 'Zero', one of the highlights from Ghost In The Machines 2020 debut album, into a showcase of sound design and raw kick drum efficiency.

Lastly LA's EAS updates 'Dumpster' from Perc's breakout 2014 album 'The Power & The Glory', opening his Perc Trax account with a hard driving remix that has already been a key part of Perc's pre pandemic sets around the world.

The truest Freaks Of Nature, Sleep D, are following up their hot ‘n’ heavy “F.O.N” series with Vol. 2; rammed start to finish with juiced up club exhilarations - you can’t afford to miss this.

Australia’s notoriously prolific duo are celebrating all things bass, the 3 tech-tinged party starters are a force to be reckoned with, an official warning of high voltage (and speed). Welcoming back Butter Sessions alumni Ivy Barkakati & Furious Frank, the sun kissed acid anthem Ahora Sí metamorphosizes into a peak-time prog punisher Border Control where sensual whispers weave their way through a slick sexy drum maze, a darker rendition merging past, present and futuristic fantasies. Post Pump elevates tech house to immaculate status, undeniable deep groove unlocked through their signature bump and bounce; a combination of wild A side audio energies finding their home on freaky finale Bass’d In Berlin. Close your eyes, strap in and surrender control, Sleep D once again showcasing what they do best; modern dance from down under.

Evening News is the new moniker of instrumental dance group formerly known as Beatnik Collective. A 4-piece hailing from Melbourne's inner north, the band composes house and electronica infused grooves, with influences ranging from Drum & Bass and 2 Step Garage.

In our 20th celebration year we welcome back Loz Goddard! It’s been quite a while since we last saw him on our label. With his standout debut collab release with Harry Wolfman in 2016 he has developed a unique mix of electronica, deep soundscapes and lush organic Deep House on labels such as “Oath”, “Razor N Tape”, “Church”, “Outplay” and “Apparel Music”. Now he finally returns with a mini album that features beautiful crafted ambient and electronica cuts paired with three upbeat tracks that will for sure shake the dance floors in and outdoors this summer! Enjoy!

In his own words, here are some insights on the influences and production process of these six pieces:

The release is named after a night in the White Hotel in Salford watching Skee Mask. At the time I had a bunch of unfinished ambient ideas as a result of making “Balloon Tree Road” (out on Oath). There were a lot of ideas I still loved that didn’t get finished for that release, so I set about finishing them late 2022 & early 2023 with the view to releasing an EP or ‘mini album’ that was again angled a bit more towards home-listening.

The more upbeat tracks are newer jams that I created in 2023. I wanted to include a few club-ready tracks on the record as well, so the release appeals to DJ’s as well as home listeners. I approached the production much like my past two records on Oath, with lots of live drum elements, some sampling and a mixing approach which keeps everything sound warm and organic. It’s rough round the edges - as has been the case with my productions of late - and offers a nice contrast to my DJ sets and radio shows at the moment, in which I am playing mostly Deep/Progressive House, Breaks & Techno. There’s some influence on the title track from the Deep & Lo-Fi House sound of artists like Baltra & Mall Grab, and I have taken influence from all the breaks I’ve been playing in DJ sets for ‘How’s This for a Vague Song Title’.

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Beltran and Harvy Valencia team up for their label debut on Hot Creations, unveiling a slick collaboration alongside solo cuts on their three-track ‘Origins’ EP.

Bursting onto the scene as standout talents, Brazilian Beltran and Colombian Harvy Valencia are quickly becoming globally recognised figures in their own right. With releases between them on esteemed labels such as Cuttin’ Headz, Solid Grooves, and Revival New York, the two now forge a new path as they unite for the first time on Hot Creations. Unleashing a trio of vibrant and impactful productions, headed up by their debut collaboration, the pair unveil a collection of cutting-edge sounds across their latest EP, 'Origins'.

Opening with playful bass grooves and crisp, organic drums, title cut ‘Origins (3AM Tusi Mix)’ welcomes a rolling masterclass from the duo. On the B-side, Beltran takes the lead with ‘Tira A Roupa (Putaria Mix)’, delivering punchy beats, funky riffs and crisp percussion, crafting a flawless laid-back groover. To close, Harvy Valencia delivers a powerful dancefloor experience with ‘Brut’, showcasing vibrant vocals, infectious beats and playful phone rings. showcases a deeper, sultry vibe with alluring male vocals at the core.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Mon Goose is multi-instrumentalists Yegang Yoo and Robert Lombardo (both ex-Alex Delivery Jagjaguwar). Flowing seamlessly between dance grooves to experimental soundscapes, their songs twist and turn melodically through dense layers, animated by inventive live percussion and a creative melding of electronic and acoustic sounds. A Seoul-native trained in classical piano and composition at an early age, Yegang transplanted to New York City in 2000, where she and Robert began playing music together. Robert's history spans from playing guitar and drums in garages and basements, to the rabbit-holes of experimental and dance musics, to the present where he pulls from all of those influences in the music of Mon Goose and as a sound designer and composer for films.

Very Still Right Now lives in the intersection of music to listen to and music to dance to. Showing influences from space disco (stand-out track “I Feel Goose” is gloriously remixed by Lindstrøm) to Krautrock to techno ... to soundtrack records ... to classical ... it shifts and turns, sweeping you unaware from the disco dance floor to the melancholic high seas with a unique ability to contain, expand, and gradually distort moods without sacrificing a sense of lightheartedness. The album is the culmination of several years’ work from the duo, tangled in the wires of an arsenal of analog gear in their basement studio in Greenpoint, Brooklyn, and is the first offering of much to come.

2024 Repress

From an avid record collector in his home of Brazil to an artist now championing an undisputable position in the upper echelon of D&B's global hierarchy, DJ Marky's 'The Time Is Right' LP sees one of underground music's biggest success stories serve up an incredibly significant album that represents his unwavering passion for both drum and bass culture and his own growth as an artist.

19 years on from the release of his debut album ‘In Rotation’ with XRS, the internationally revered DJ, producer, and label head has found a home for this greatly-awaited album on Shogun Audio, traversing an extensive and beguiling selection of sonic soundscapes across fifteen of the most refined tracks that you'll hear this year.

Capturing both his signature sound and pristine personality in an energetic, bubbly, and vibrant amalgamation of soon-to-be drum and bass anthems, 'The Time Is Right' is an immaculate 175BPM fuelled offering that celebrates one of the scene's most passionate, charismatic, and loved mainstays of the past two decades.

Teaming up with a selection of hugely talented collaborators, including the likes of Pola & Bryson, MC GQ, Makoto, Charli Brix, SOLAH, and many more, 'The Time Is Right' sees DJ Marky serve up a heartfelt, vigorous, and personal sonic journey that undoubtedly presents his most meaningful and complete body of work to date.

As a love letter to his peers, fans, collaborators, and the D&B scene as a whole, this latest album from one of D&B's biggest icons captures the brilliance of his innate ability to intertwine different cultures and music in a mesmerisingly effortless manner.

Through the deeply-personal and emotive feels of 'Colours Of My Mind ft. Pola & Bryson', future anthems such as 'Natural Feeling ft. Charli Brix & Alibi' and 'Back & Forth ft. Melinki, D'Cypher, Harry Shotta & GQ', certified club hits like 'Wrong Hands ft. L-Side, and many other gems embedded throughout the album, DJ Marky further cements his reputation as one of the most unique, talented, and iconic artists to ever grace the drum and bass scene.

Heavee is a Queer Chicagoan DJ & producer with a long history in footwork. His 2022 'Audio Assault' EP on Hyperdub showcased synth-driven, melodic footwork, but ‘Unleash’ goes much further into audio world-building, with a fresh, spongy and citrus-y sound palette and rich, bright chord sequences.

It's minimal, airy, balancing light and dark, sometimes breezy and sometimes clinical. Heavee works simultaneously outside and inside the box, rebuilding footwork's framework and vibe to his own unique specification. Rhythmically, it's dance floor ready, using footwork's 160 template as a springboard for building new drum sounds to express these rhythms, and draws from R&B, rap, jazz and grime, with a sprinkling of bitter-sweet vintage Detroit techno.

‘Unleash’ takes footwork’s “eats all” approach to music and leads it in a fresh direction with a freedom of spirit. It's a strong addition to the footwork cannon and shows that experiments in dance music can be fun.

HAVEN are proud to present the second record in their black label series focused on the crossover between sounds on the UK bass music spectrum and hard techno dynamics. This time UK break-beat maestro Mani Festo joins the label for the first time with an EP of hardcore-
inspired dance-floor weaponry alongside a remix from Swedish experimentalist PederMannerfelt.

The A side kicks off with 'Hunterr' with booming vocal cuts, pounding 4-4 kicks and break-beat rhythms sprinkled throughout for a prime UK hardcore and techno genre crossover slab of club material. This is followed by the Peder Mannerfelt remix where the Swedish legend brings his left-of-field sensibilities to the fore, submerging the vocals in to a ghostly high-frequency spectrum whisper alongside a looping bass-line and sludgy drum rhythms to close out the first side.

The B side starts with 'Swarmm' - a broken beat roller filled with screeching synth zaps and a mammoth break-beat in the second half. Up next comes 'Poison' with its eerie atmospheres and drones sat behind a 4-4 rhythm and charging break-beats in another dance-floor killer. Finally 'Machine' closes the EP with its syncopated electro rhythms and funky UK swing alongside chugging bass plucks and arpeggiated melodies in one more crossover hammer.

The fourth installment of the 'Tracks From The Alley' series continues to explore the oblique edges of the jackin zone, dragging recognizable primitive elements of dance music through narcotic madness; a possible soundtrack for sleepless nights at the skate park.

Involved in this 4 tracker mini-compilation are the Greek dj/producer DimDj, the Berlin-based Italian producer and part of Sons Of Traders, TANS, the Portugal-based Brazilian Unrealistic Expectations label owner Nothing Was There, and the ALLEY VERSION's brothers FLML.

Limited to 200 copies.