Over the past decade Rising Sun has firmly established himself as a purveyor of the finest deep, dubby and cinematic leaning house and techno, consistently delivering a sound that is distinctly his through labels such as Fauxpas, Freund Der Familie and his own numerous imprints Reality Used To Be A Friend Of Mine, Kristofferson Kristofferson and Beautiful Things Don't Ask For Attention under a variant of guises such as The Ambientist, Rising Sun Project, Rising Sun Psyche, Rising Sun Melancholia and simply Rising Sun under which he returns here for Echocord. As one has come to expect from a Rising Sun release ‘The Eternal’ has a firm foundation in emotive melodies and atmospherics across six alternate versions. ‘Eternal 1’ leads with muted drums, fluttering stabs and a preaching spoken word vocal. ‘Eternal 2’ edges into darked realms, merging expansive dub echoes with swelling subs and tension building strings before ‘Eternal 3’ dives head first into ethereal hypnotism via unfurling textures, soft stab sequences and a rounded kick. ‘Eternal 4’ opens the B-side with a subtly unfolding construction as vocals, chords and swinging drums run in unison. ‘Eternal 5’ then strips things back to a gritty statured feel with boomy percussion, enchanting strings and nuanced stabs before ‘Eternal 6’ rounds out the release laying down murky, multilayered pads, widely dispersing reverberations and bubbling delays throughout.
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Foundation Music Productions take two of the standout tracks from Lady Blackbird’s critically acclaimed debut album ‘Black Acid Soul’ and enlist the expertise of some of Jazz’s finest talents, Greg Foat and Emma-Jean Thackray, to step up and remix these absorbing cuts.
On the A side, the much-revered London based, jazz and electronic composer/producer Emma-Jean Thackray delivers a downtempo and entrancing remix of ‘Blackbird’, flexing the jazz elements of the original into a smooth and encapsulating mix that's primed to lose yourself in.
Head to the B to find Greg Foat’s irresistibly smooth production touch with his remix of ‘Collage’, layering floaty percussion, dreamy organ chords and delicate guitars to create a sun-kissed, laid back vibe that shines a light on the scintillating vocals.
S.A.M. is back on their own Delaphine label after a four year hibernation period. The leading cut ‘Project050’ comes in two version, a Studio Version and a Live Mix. The foundation is a grooving 12bit 909 pattern that’s as crisp as it’s phat. Combed in between the syncopes of the groove are layers of acidic and resonant tones padded with swelling chords lifting you in and out of the metaphysical. Second track ‘Ha’ reveals references within a wide range of dance music history from early Derrick Carter-esque beats and 90’s dub techno to organ Melodies and UKG sub bass-lines. The transient beats work like tent poles for the thriving and continuously evolving melodic culture growing underneath. S.A.M. is showing a drive and a ferocity with this EP that speaks to an interesting 10th year of Delaphine.
The Icon Catalogue is a series of small A6 zines profiling 40 record labels in various dance music genres such as Jungle, UK Garage and Dubstep. From the most important labels responsible for the scene’s foundations to rare, hard-to-find imprints now defunct, plus a few heavy-hitting newcomers.
Jungle Volume 1 features the likes of Dread, Legend, Moving Shadow, Rugged Vinyl, White House and many more.
Limited Edition - Transparent Blue Vinyl
‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.
Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.
Press:
Gazza Premiere
House Salad Music Premiere
Madoras Premiere
Music Is 4 Lovers Review
Le Visiteur Review
Hot House Picks
Faith In The Defected Basement - Livestream play
DJ Feedback:
FRANCOIS K
Yes! I played the vocal version the other day again.
KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!
GREG WILSON
What's not to like? Love the orig Solange jam!
DANNY KRIVIT
Nice, I like a lot of DJ Oji.
SOUL CLAP/ ELI GOLDSTEIN
Fire right here
DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.
THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!
TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x
HOT TODDY
Simply beautiful.
CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools
CHARLES WEBSTER
Nice soulful groover. Like this.
FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time
FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.
FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!
STEVE PARRY / FOR SASHA
Really Smoove love it.
GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!
RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.
QUENTIN HARRIS
I love this package.
GRAME PARK/ THE HACIENDA
This is tremendous
HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.
ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.
DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x
MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!
STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!
TREVOR FING/ GRAFITTI KINGS
Love these remixes.
MAX P/ HELL YEAH
Yeah, full pack is what I needed !
HORSE MEAT DISCO/ SEVERINO
Really into this!
SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work
GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
TREVOR FUNG/ GRAFITTI KINGS
Love this !!
QUENTIN HARRIS
Being a fan of the Original I love everything about this.
ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!
DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx
NICK V/ LA MONA
This is a fantastic track!
MAX P/ HELL YEAH
Oh yeaahhhh
RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.
MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!
TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!
RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.
JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it
CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x
DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!
STEVE PARRY/ FOR SASHA
Beautiful super smooth.
LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!
The label ZIEMIA (Polish for EARTH) is centred around a growing group of friends from Poland. Administered by Bartosz Kruczyñski (Earth Trax), Adam Brocki and Jan Wójcicki (Private Press), it is a natural extension of a studio in the heart of Warsaw, where the majority of their music is being created. Ambient sounds and club vibes make the foundation layers of this collaboration, and you can see this theme evolving in some of their first releases on labels such as Growing Bin, Into The Light, Shall Not Fade, Indigo Aera, Phonica Records and Dopeness Galore. ZIEMIA's focus positions itself between club music and ethereal with an Eastern European background.
The second release captures different shades of club environment, from the straight-forward, rough DJ tool by Earth Trax and Newborn Jr. (A1) to deeper and more ethereal dub oriented grooves of Private Press (A2, B1). The last cut on the EP is an after hour downtempo anthem (Earth Trax and Newborn Jr. again), with uplifting pads and chilling leads layered over deep TR-808 drums.
- A1: Terrace - Bewitched
- A2: Glenn Underground - Real Space
- B1: Felix Da Housecat - Temptation (Color Mix)
- B2: China White - Theme From The Underground
- C1: The Operator - The Mind Strike
- C2: Steve Poindexter - Body Jam
- D1: Mike Dearborn - Deviant Behaviour (Instrumental Mix)
- D2: Dj Skull - Don't Stop The Beat
The second edition of Dekmantel’s foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic 90s cuts.
The label say "The Dutch label was responsible for releasing some of underground’s most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today’s biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label’s old-school’s sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music.
The second re-issue EPs, offer a more introspective look at the label’s earlier releases. Leading Volume 2 is Terrace’s 'Bewitched', to which DJ Richard has described as being the defining track of the label’s beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe”. Glenn Underground’s bass-roller 'Real Space' weaves together soulful passion and Chicago prime beats, while Felix Da Housecat’s Temptation — originally from 1993 — gets a well earned re-release, reminding us of the soulful, deep and lustful energy the producer once had. China White, whose name doesn’t get banded around as much as it should nowadays, see their ethereal hit 'Theme from the Underground' get another opportunity to bliss out the more upbeat rave community.
The energy turns darker with Frank de Groodt’s The Operator, breaking the outer-most barriers of electro-techno, with 'The Mind Strike'. Chicago and Dance Mania’s Steve Poindexter turns out rolling, dance-energy bomb 'Body Jam', while Mike Dearborn’s deliverance of unreal, dry techno in 'Deviant Behaviour' runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull’s 'Don’t stop the beat' rides the EP with gushings of hand claps, and gentle, early 90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax’s heyday.
Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12”s. It’s a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs and other erstwhile analog junkies."
Repress!
Wiggle celebrate 25 years and relaunch their iconic label with a releases including co-founders Terry Francis, Nathan Coles and Eddie Richards, as well as artists like D’julz, Silverlining, Mihai Popoviciu, and more.
Wiggle, the brand that gave birth to tech house a sound that would power London’s club music community for over two decades, step out into their 25th year. To mark reaching this remarkable milestone, they plan a special series of international shows and a relaunch of their influential and ground-breaking label.
Taking their lead directly from the acid house movement, Nathan Coles and Terry Francis first brought Wiggle to life through their heady warehouse parties in the early 90s. Unpretentious to their core, these now infamous events were known for their purist values – community and a sound that booms. Finding a kindred spirit in another new face, Eddie Richards became resident from early sets and was a key figure from the off.
Through these now historic events, they embedded themselves deeply into London’s party landscape becoming familiar faces at cultural institution fabric. Heavily based around the core residents they also invited parts of the international and local world from Richie Hawtin, Jay Tripwire, Abe Duque and Colin Dale.
It’s about here we acknowledge Wiggle’s place in originating tech house - working the hard line swagger of techno together with the depth of feeling of house, matching rhythm with bass in a way perfectly aligned with endless hours of hedonism. This potent mix of musical elements is where it began and set down the foundation of London’s rich and active community of DJs, producers and ravers.
The label was founded close to the parties, sourcing tracks from the ever building network of producers who were fuelling this sound evolution. For their 25th birthday you can expect to see the Wiggle imprint coming back in strength - returning to cutting tracks to wax and continuing its legacy for bass fuelled party sounds and pioneering new talent.
2019 will see a series of international shows and a quarterly London party bringing the much loved Wiggle sensibilities and celebrate what they are and have achieved.
Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.
A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.
When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.
The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.
Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.
Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.
- Play With Fire (Ft. Tyla Moonchild)
- Dreamin’ Bout You (Ft. Leni)
- Resonance (Touch The Sky) (Ft. Erik Rico)
- Play With Fire (Ft. Tyla Moonchild (Sean Mccabe Remix)
- Dreamin’ Bout You (Ft. Leni (Anton Zap Remix)
- Play With Fire (Ft. Tyla Moonchild (Inskwel’s Piano Dub)
- Play With Fire (Ft. Tyla Moonchild (Instrumental Mix)
Let's see now – you just love that hugely fertile foundation period of Jamaican pop music from the birth of ska, through the spectacularly brief two year heyday of rocksteady up to and including the arrival of the first incarnation of reggae a.k.a. early or 'boss' reggae. But you're also aware that the pioneers of these sounds (including The Pioneers!) won't be creating music in these styles or touring forever – so what do you do?
Well, if you're Neil Anderson, owner of Original Gravity Records, the creation bit isn't a problem. You put forth period-authentic style material from a 'roster' of acts – such as Junior Dell & The D-Lites - that in reality consist mostly of yourself (you are a multi-instrumentalist and lyricist after all!) and whichever extra musicians and session singer you rope in for a given track. In the case of Junior Dell & The D-Lites that singer was Adrian Dell – soon to be dubbed (no pun intended) 'Junior' - first appearing on 2021's uptempo ska tribute to Salvadoran retro-dancing internet sensation Aranivah, entitled Miss Aranivah. And you keep putting out stuff so profusely and effectively that there are clamours for you to tour 'the band' which - er - doesn't really exist. What a botheration! Still, maybe your session singer could become – well - a permanent singer? Maybe you can rustle up assorted bredren to become the rest of the band and...you know what? That might just work!
And so, in the blink of an eye, Junior Dell & The D-Lites becomes a bona fide actual live band fronted by a young Jamaican singer playing fresh 60s/70s-style Jamaican music with an energy last seen and heard in, well, the 1960s and 70s. And it tours so effectively that there are clamours for 'the band' – or more accurately, now – the band - to release an album. Wait...what now? And, by the way, you've got a European tour coming up in April wouldn't it be great if the album was ready to tour by then? Pressure drop? Pressure rise more like!
Then again, Junior Dell & The D-Lites have done so many sure-shot singles to date that assembling them along with a new cut, an extended version of one of the singles and re-recordings of two of the label's previous singles that were originally by 'label mates' The Regulators should be a cinch. So expect all the hits: bluebeat banger 20 Flight Ska, the euphoric ska bounce of the aforementioned Miss Aranivah and the title track, a de rigueur smattering of covers (opener Jump Around, midway markers Praise You and Just Can't Get Enough, and one of the re-recordings, closer Don't Look Back In Anger), early reggae groovers Cool Right Down, Last Night Reggay, Can't Stop The Reggae (in a new extended form) and crowd-pleasing new one Mi Try along with the other Junior Dell re-recording - the gorgeous Why Why Why which nods to the period of reggae between the sound of '69 and the arrival of roots.
Don't you brag and don't you boast but that's a Whole Lotta Skankin' going on! Do the ska, do the rocksteady, do the reggay, why– it's another scorcher!
Dialog strips back the vocal cuts from their first two DOT releases to their essential rhythmic foundations, offering a fresh perspective on their dubwise electronics. Highlighting the production architecture and opening up new spaces for the music to unfold
Dialog strips back the vocal cuts from their first two DOT releases to their essential rhythmic foundations, offering a fresh perspective on their dubwise electronics. Highlighting the production architecture and opening up new spaces for the music to unfold
Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.
Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.
Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.
Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.
Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.
Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.
On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.
The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.
- A1: They Don&Apos;T Know
- B1: They Don&Apos;T Dub (Feat The Poor Man&Apos;S Friend)
PMF006 Has Landed
Poor Man's Friend Recordsproudly welcomes the legendarySylford Walkerto the label with a powerful roots debut single:"They Don't Know."
True to form, this track delivers exactly what you'd expect — and crave — from one of reggae's most iconic and unmistakable Rasta voices. Aheavily saturated drum and bass groovesets the foundation, locked tight with atough, swung Nyahbinghi section. The rhythm is sparse but deeply textured, featuring carefully placedguitars, percussion, and saxophonethat leave room for the message to breathe.
Low in tempo butloaded with low-end weight, "They Don't Know" is a roots statement that resonates. Fans of classic conscious anthems like"Babylonians," "Chant Down Babylon,"and"Africa Homeland"will find themselves right at home.
A heavyweight One Drop. A voice of experience. A message for the times.
Don't sleep on this one.
Out now via Kudos/Poor Man's Friend Records.Catalog number:PMF006.
Congo Lion was immersed in African, Afro-Caribbean and reggae music from an early age. Settling in Africa when he was a teenager, he was strongly inspired by artists such as Burning Spear, Peter Tosh or The Gladiators. Convictions and values carried by their captivating melodies, full of humanity and spirituality, echo the sensitivity of Congo Lion. “Word, power and sound” is the foundation of his creative approach, inviting a return to origins, and openness to others. Self-taught, he composed his first songs in English and Jamaican Patois under the name of Natty Congo, at the age of 16. Most of his recent collaborations have been alongside the renowned Reggae producer, Karigan. Recording at his Back to Basic Studio, to produce a Reggae Roots Vintage sound, without concession, harking back to the original creations & tradition of the 70s & 80s.
2026 Repress
Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik, Kraak & Smaak, Jitwam, and Turbotito & Ragz.
Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985 Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering Bollywood electro and leftfield 80s original soundtrack recordings.
Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’, the label now offers up the first of two full-length releases based around her music. Cosmic disco pioneer, Studio 54 icon and jazz improviser Asha Puthli has recorded, sung or shared the stage with the likes of Roy Ayers, Alice Coltrane, Grace Jones, Barry White, Andy Warhol and many more. From David Mancuso's The Loft, to Giorgio Moroder's early work with Donna Summer, to hip-hop where she has been sampled extensively, Asha's musical influence and impact is profound. She was the first artist of South Asian descent to successfully crossover and make a mark on dance, jazz and pop culture in the West.
For this LP, Naya Beat tracked down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.
Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and cruising chords next to another sensuous top line from Asha Puthli.
“Behind the Noise“ marks a powerful new chapter in Aleqs Notal’s musical journey.It's a declaration, a rupture and a surge of heat aimed straight at the dance floor and the soul, engineered to move thebodies and the foundations.The E.P. includes 4 tracks sculpted with a cutting-edge groove that fuses the weight of dub, the propulsion of DetroitTechno, and the warmth of House Music into one timeless movement.In an era drowning in gloss and shallow repetition, "Behind the Noise" rises as a manifesto for honesty, for the craft andfor music that dares to makes you feel and meditate.Through his music, Notal is urging us to listen deeper, to move with clarity, and to remember what lies beneath thesurface.Behind the Noise, there is truth..and it hits hard!
Siren Selector presents the first voyage of Remy Solar, as the producer takes a break from composing sound system exclusive dubs to expand his horizons with this by-turns lush, textured, menacing and plaintive album.
‘Heavy Terrain’ emerges from the depths of a lifetime inside the dub fraternity: reared on a potent diet of Lee Scratch Perry and Augustus Pablo, The Disciples and Digital Mystikz, it’s an album which stuck its head in a bass bin in an abandoned bingo hall in north London before striking out on a musical road-trip to imbibe sounds and rhythms from further afield.
The album opens with the militant drums and ethereal pads of 'Sound in the East' before being bookended by two mixes of 'Star Trail', where unformed musical space and time cross uncharted distances to coalesce into the beginning of direction and rhythm. The lush deep house chords and drilling synths of 'Lila #3' summon ghostly presences, while in its counterpart 'Lila #7' layers of melody rise and hang like mist before dissipating in percussive heat. 'Dakhla's’ swelling and retreating drones fade into swirls of drums. In the eponymous 'Heavy Terrain', off-beat keyboard chops respond to each other from uncertain depths while electronic horns pulse across miles of open space. 'Empty City 'sees walls of sound coalesce and fragment, falling into bursts of white noise.
Remy Solar explores a deliberately constrained hardware set-up to create the primordial conditions of trance, locking down a rhythmic foundation while semi-improvised excursions form and reform above it. It’s an album that takes the listener on a journey between order and chaos, past and future, all the while underlaid by a counterpoint of cavernous bass lines and echoing percussion, yang and yin, shade and light.




















