Suche:dub head

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

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

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

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

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

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

Reissue!

WRWTFWW Records is honored to reissue revered UK electronic duo Ultramarine’s best kept secret from their discography, the superb A User’s Guide album, available as a limited double LP housed in a beautiful heavyweight sleeve with inside out printing.

On the rare occasions that Ultramarine’s story is told, the duo’s fifth album, 1998’s A User’s Guide, tends to get omitted from the narrative. Radically different to anything the duo released before or since, it has remained a slept-on, timeless and inherently futurist classic ever since.

Unavailable on vinyl since the year it was released – in part because the label it originally came out on, New Electronica, folded shortly afterwards – A User’s Guide was the result of a conscious decision by Ultramarine members Paul Hammond and Ian Cooper to change their working methods and the “sound palette” that underpinned their work.

Out went the partially improvised hybrid electronic/acoustic sounds and the collaborations with guest musicians they’d become famous for. They were replaced by painstakingly created electronic sounds and textures, metallic motifs, spaced-out chords, rhythms rooted in contemporary techno and drum & bass culture, and nods aplenty to pioneering music of the period, from the post-rock atmospherics of Tortoise, and the hazy dub techno of Basic Channel, to the tech-jazz of Detroit, the minimalism of Berlin, and the musically expansive warmth of Chicago deep house.

It may have taken a year to create – part of which was spent developing this head-spinning new sound – but the results were undeniably unearthly and effortlessly forward-thinking. Over a quarter of a century may have passed since it first appeared in record stores, but A User’s Guide still sounds fresh and modern – a remarkable achievement given the relatively sparse and basic equipment used in the making of the album.

As this first vinyl reissue conclusively proves, the material showcased on A User’s Guide has lost none of its sparkle in the 26 years that have passed since its release. For proof, check the head-nodding IDM bubbliness of opener ‘All of a Sudden’, the queasy, lopsided tech-jazz of ‘Sucker For You’, the locked-in beats and mind-mangling motifs of ‘Zombie’, the ghostly, out-there electro of ‘Ambush’, the Autechreesque ‘Ghost Routine’ and the triumphant closing cut ‘What Machines Want’, a classic of minimalistic, jazz-flecked techno futurism.

Fully remastered from the original DATs by Jason G at Transition Studios, the 2024 vinyl edition of A User’s Guide thrusts Ultramarine’s most overlooked album back into the spotlight. This WRWTFWW edition also features brand new contextualizing sleeve notes, complete with new quotes on the production process from Ultramarine, by dance music historian Matt Anniss (author of Join The Future: Bleep Techno and the Birth of British Bass Music, and founder of online electronic music platform Jointhefuture).

Points of interests For fans of electronic, leftfield, postrock, tech-jazz, IDM, minimalism, futurist electronica, dub techno, house, experimental, Autechre, Tortoise, Basic Channel, forgotten gems from superb discographies, very good music, and very very very very good music.

Official vinyl reissue of legendary UK electronic’s duo Ultramarine’s timeless and radical album A User’s Guide.

Ras Tuffy Irie, known on the roots circuit for tracks such as 'Hail Rastafari' and 'Chucky', collaborates with Mali Blakamix and steps forward with this scorcher of a single 'Hear The Warning'. Side A features Ras Tuffy Irie sings, calling for the heads of state to hear the warning. On the B side Mali Blakamix delivers a sublime dub mix filled with delays, phasers and airy reverbs.

Those that have enjoyed both Ras Tuffy Irie's and Mali's previous releases are sure to enjoy this collaboration. Guaranteed to get you moving and skanking.

Veyl is pleased to welcome Harlem back to the label with a new 8 track LP titled Cage. The Stockholm-based duo of Martin Thomasson and Johan Skugge last appeared on the imprint with 2021’s, Bait, and the project now returns diving deeper in to their infectious cocktail of menacing electronics.

Bringing with them a vast body of work, ranging from dub to minimal techno, with Harlem the pair fuse electro, no wave, post-punk, disco, proto-body, dub, hip-hop, and grime, creating a unique sound that cannot be categorized. Cage opens with “Shut Your Body”, a muscular piece which drills into the surface, setting the stage for what’s to come. Next up is “Fantasy Scan” a dance floor ready jam that picks up the pace and lures us into the pleasure dome. “Blow by Blow” brings a nihilistic energy to a fictional scenario that takes its cues from the past while remaining firmly in the now.

“Kiss The Steel” continues on the slow burning path, dropping us into a dream like state, blurring the lines of reality and plunging us into a surrealist nightmare or reverie? “Dummy Up” comes roaring back, injecting a dose of electro and body that sounds like a soundtrack to your favorite cult gathering. With “Sleuth”, we hear the repetitive grind of a man at work, searching for the unknown, unlocking new mysteries along the way. As we head toward the finale, “Contact High” brings back a seductive dance, ready to movie bodies and stir emotions. Closing things out is “Wiggle Walker”, returning us to a drifter’s journey, a wanderer’s melody that carries us to the end, or is it just the beginning?

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

The Vinyl Only label is a hot one amongst heads and now it hits double figures with a cheeky new 7" packed with plenty of delicious dub. It is the work of the Vinyl Only Allstars and A-side cut 'Dub, Dub, Dub' is just that - a big bottomed sound with cavernous low ends, oodles of reverb and some well-treated vocals floating in amongst the liquid chords. 'Find A Reason' is another rich soundscape with natty guitar riffs, filtered vocals and a sunny disposition with some playful pianos.

‘Dynamic Movements - Music for Exercise & Relaxation’ is the new album by the Swedish electronic music producer/remix duo of Johan Agebjörn and Mikael Ögren, lovingly released on Ltd. cassette via Lo Recordings.

Back in the 1980’s there was an exercise craze, people wore lycra bodysuits and headbands. All over the world people were making ‘Dynamic Movements’, determined to change the flow, turn their lives around and step into a bright new future. At the same time the New Age movement was blossoming and meditation was the way forward. Meditation and deep relaxation with maybe some crystals and Unicorns, just for fun.

Inspired by these exercise tapes of the 70s/80s and in tribute to those times and movements, Johan and Mikael worked with producers from around the world to create an album of diverse interpretations, bringing us an album of deep sonic nourishment. Sometimes throbbing and at other times gently lapping at your toes, the result is a lavish cassette contrasting ‘music for exercise’ on side A and ‘music for relaxation’ on side B.

Kicking off side one is the duo’s own ‘Dynamo Dance’, a resonant, pulsating slice of electronic pleasure, which gives way to tracks by acclaimed collaborators like the crisp, cruise control groove of Causeway, the dub chug delight of Jarle Brathen and the irrepressible majesty of ‘Lovelock’ (Steve Moore), before Johan and Mikael return with a tribute to the late great Florian Schneider of Kraftwerk.

Side two’s sumptuous drift into a world of soft pads, rippling arpeggios and sultry saxophone (all the saxophone on the album is by the aforementioned Steve Moore) is initiated by Seahawks, with their lysergic ‘Phase Induction’ leading to the extended Cafe Del Mar beach bar ambience of the legendary Fax records maestro Dr Atmo, continuing with the impossibly lush shimmer of Mary Yalex, the gravity defying drift of One Million Eyes and the divine dream world of Patricia Wolf.

** CASSETTE RELEASE

Spanish-born producer Digge Shim relocated to Malmö, Sweden a few years back and found his calling in the reincarnation of electro through his relentless output of acid-flavored 303 jams. Besides establishing the Malmø Traxx label he also ran the city’s foremost record shop for electronic dance music.

For his first release on @blundar.co the producer has sourced tracks from his archive of tapes and found a batch of unreleased gems that seemed to fit nicely together in a sort of megamix style. On Side I, he collects some indica-infused ambient and goes all in on Gregorian chants and samples of political speeches. Side II is a head nodding trip through leftfield experiments in downtempo, dubby disco and the tropical ghosts of boom bap.

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

Tír na nÓg are an Irish folk duo formed in Dublin, Ireland, in 1969 by Leo O'Kelly and Sonny Condell. They became labelled one of the first progressive folk bands of the early 70’s. Tír na nÓg would go on to sign with Chrysalis and support the likes of Jethro Tull, Fairport Convention, Roxy Music & The Who as well as headlining their own tours. In The Morning is a pre-record deal recording from Dublin 1970. * Fully remastered * A mixture of covers (Donovan / Joni Mitchell / Leonard Cohen / Bob Dylan), and self-composed songs * Printed iInner bag * Full liner notes and unseen photographs

Although many a vibe has shifted since the days of dubbing NNF001 one at a time on the floor of a Koreatown bachelor apartment in February of 2004, using stolen photocopies and tie-dyeing J-cards with wine, the label’s essential premise has not. Then, as now, the vision was to elevate and enshrine outsiders, foragers, hidden gems, and hybrid sounds on cheap tapes or affordable records, to be savoured and shared in the here and now. 399 catalogue titles later, the centre still holds.

To toast the label’s 20th anniversary and 400th release, we commissioned a gold roll call of alumni and affiliates: Alley Of The Sun. Named in homage to the Malibu mystic music fountainhead, skewed through a smoggy sideways lens, the 16-song, 90-minute, double LP suite spans every shade of NNF’s Pacific palette: rainforest ceremony, skyway motorik, Tascam rapture, silhouette shoegaze, basement vapour, astral ascension, jazz shadows, 5th world tropics, lucid dream drone, desert quests, prophecy electronics, ritual wreckage.

Equal parts snapshot, tapestry, and time capsule, the compilation reflects the breadth of NNF’s two-decade exploration and evolution, from simple soil to a sea of dunes. True undergrounds have no set sound or fixed polarity, only flashes of transient magic and forking paths, to be cherished and championed for as long as the candle lasts.

Limited edition - 250 copies

Coming from the vaults of one of the label heads 'Golden Ivy'. This single presents a full circle, baleo-industrial experience that makes its mark as a firm revisit to the label after some time spent being harbored by other imprints.

The foundation upon which this release stands originally stems from a sample from the mindfulness record ’Sinnenas dans” by the renowned Scanian folk musician and multi-instrumentalist Ale Möller. With its re-illumination graciously blessed by the original creator, it quickly transcends into flute-laden fourth world grandeur, underpinned by synthesized meanderings and industrial motorik. Flip the record for the version, and you’ll find label friend and artist Philipp Otterbach taking us on a post-punk dub jaunt of sorts, carefully decorated with his signature of deep and enigmatic sounds—often both sculptural and contrasting.

This record serves as a reflection of the label’s long-standing affinity for subtle rhythmicism and is well suited for mindful low-tempo dances in the many years ahead.

Classy and soulful collaboration with one original and three remixes For the Original Mix, label owner Sub Semantics teams up with Hanover-based Producer ANDERE. It features a highly stuctured groove, elegantly layered with energetic pads and a catchy lead melody. On A2, Map.ache from legendary Giegling label and co-founder of KANN records, delivers a minimalist, super-dreamy remix. On the ­ipside, the Argentinian producer Volpe delivers reduced dubby techno with an oldskool vibe, preserving many elements of the original. MELATRONIX, also known as Elad Magdasi and Mathias Weber, contribute to the EP on B2. The highly experienced artist duo and Front Left Records label heads close the EP with a particularly powerful remix, straightforward and with remarkable precision.

Following up on the Hayal EP in 2023, Dutch techno refractor Konduku makes a welcome return to Bitta with another four cuts of prismatic club fuel. Throughout his consistent output Ruben Uvez applies non-standard ideas to the techno formula, toying with rhythm and eliciting transcendental atmospheres from unusual patterns. This mode of exploration continues unabated on Gazoz, with the title track in particular leaning on a full-frequency, one-note synth pulse which dominates the mix and becomes truly hypnotic in its relentless presence. In the wrong hands it would come off garish, but ?vez knows how to weave subtlety around such forthright sonics to create a sublime sonic experience. 'Mikros' aligns with Konduku's more recognisable palette -- taut, bell-like rhythmic threads that balance delicacy and impact while tunnelling into mysterious, introspective zones. Aimed squarely at the heads-down section of the night, 'Luna' strides forth with a decisive dub techno palette and finds space for expression and progression in the most linear of arrangements. In true B2 style, 'Inici' rounds the EP out with a more fractured approach centred on reversed kicks and psychoactive arps riding wide and slow pitch bends for a mind-melting finish running at a formidable pace. As well as showcasing Konduku at his best, the sound on Gazoz serves as an extension of Bitta boss DJ Nobu's own particular tastes in techno -- brain-tweaking machine music crafted from supple parts, honed for the club without being limited by it.

Record includes 2 page insert and download

Flipping rhythms from Guadeloupe, Cuba, Senegal and Puerto Rico, Time Capsule founder Kay Suzuki releases an acid-soaked collection of remixes that transcends time and space.

From the blacked-out basement of Plastic People to the psychedelic dancefloor of Beauty and the Beat, Kay Suzuki’s musical world has been shaped by some of London’s most iconic sound systems. High quality audio, he says, can open portals to new universes. Rhythm is time made plastic and beauty is the space between the beats.

Spanning over fifteen years of music from the prolific DJ, producer, Time Capsule label boss and one time Brilliant Corners sushi chef, this collection of remixes is the logical conclusion of Kay Suzuki’s musical thinking. Drawn to unique percussive or syncopated rhythms, he describes remixes as conversations between the original artist’s sense of time and his own. Weaving broken beat, house and dub influences into rhythms from across the Black Atlantic, these four tracks find each other kinship on the dance floor.

The A-side begins with a dubbed-out rework of the Gwoka celebration rhythm ‘A Ka Titine’ by Guadeloupe’s Gaoulé Mizik that was originally released by Beauty and the Beat in 2022. Layering electronic flares, dub sirens and space echo reverb across the shuffling toumblak beat, Suzuki leans into the track’s creole heritage, turning the track into a sought-after dancefloor jam, played by everyone from Colleen Cosmo Murphy and John Gomez to Yu-Su and Bradley Zero.

Skipping to Puerto Rico, Broki’s ‘Es Que Lo Es’ emerged from a collaboration between Bugz in the Attic’s Afronaut and Seiji and local musicians. Here Suzuki reworks the Afro-Latin percussion into a subtle bruk, conjuring a third space between London and San Juan that remains both of and outside the era in which it was made.

Blackbush Orchestra’s ‘Sortez, Les Filles!’ opens the B-side, taking apart the original and kneading the Senegalese percussion into a chugging Balearic house track, buoyant and full of life. Also first released by Beauty and the Beat, the track features new synth and structural elements that bring out the innate dancefloor potential beneath the surface of the original.

The final track on the collection heads back to the Caribbean and the island of Cuba, where Sunlightsquare a.k.a. Claudio Passavanti worked with vocalist Rene Alvarez and expert in Afro-Cuban percussion, Giovanni Imparato, on ‘Oyelo’. Here, Suzuki strips out the kick completely, leaving an implied rhythm which he calls an “imaginary four-to-the-floor” - a groove that is felt rather than heard, leaving the listener floating in another universe entirely.

Building on the promise of his standout Vacuum EP, Brendon Moeller returns to Samurai Music to dial his expert dub techno up to 170 for a full-length trip. Moeller is celebrated as a versatile operator applying cavernous sound design and decades-deep machine soul to a broad sweep of tempos and styles, and his pivot to D&B territory is as natural as it is original. It's a perfect fit on Samurai, where palettes, pressure and rhythms are continually yielding fresh results in this highly fertile zone of modern club music.

It's no secret Moeller is a prolific producer, and following his initial connection with Samurai he offered up a vast folder of tracks created in this latest furrow of his production. The label has since sifted through and puzzled out a sonic narrative, first realised on the Vacuum EP in June 2024 and now extended with Further. For anyone keyed into the deep, techno-informed innovations taking place at 170, there is a logical connection to Moeller's take on the sound, but at the same time these tracks stand apart from anything else out there right now. In the particular textures, the unfolding arrangements and monolithic reverbs Moeller threads together with hypnotic poise, his accomplished legacy shines through.

Whether it's the snarl of a delay feedback pushed a little further, a soaring synth swell sculpted into artful noise or a particular shuffle applied to a particular drum rack, Moeller's tracks unfold with a masterful poise, hitting the sweet spot between club-spirited physicality for the deepest of dance floors and introspective headphone trips. Teeming with detail, swathed in soul and engineered to perfection, the inspiration driving Moeller is palpable across the LP, and it's resulted in some of his finest work in a career studded with highlights.

New Source gladly welcomes Juan Bozzolasco aka Juan Dairecshion, unveiling a four track in which he confirms his innovative approach to electronic music production. His works, full of creativity and unexpected interactions between elements, are shown here in full display. His music is a result of a life-long exposure to some of the most seminal works of dance-floor oriented electronic music, ranging from Chicago’s and Detroit’s House and Techno passing through mid-century American Jazz and avant garde Latin-American music. House music composed by a techno-head and housey techno for your grooving pleasure are unequivocally found in his release.

Back in 2018, Argentinian producer Fernando Pulichino released ‘Search of Indigo’ on Leng, a shuffling slab of colourful, Balearic-adjacent dub disco featuring his own distinctive lead vocals and backing vocals from Luca Gasparini. Six years on, the track returns renewed and refreshed thanks to a string of new floor-friendly reworks by LTJ Xperience and Pulichino himself. Fernando kicks off the EP with his ‘AM Mix’, an inspired re-invention that re-frames the song as a hard-wired, acid-fired chugger – all restless, razor-sharp TB-303 lines, low-slung bass guitar and sparkling piano riffs. On the digital version of the EP Pulichino has also offered up his ‘PM Mix’, a deliciously Balearic disco dub rich in colourful synth sounds, elastic bass, flanged guitars and sun-bright piano licks. It's LTJ Xperience’s trio of remixes that lie at the heart of the EP though. The Italian producer, real name Luca Trevisi, initially made his name as a downtempo and nu-jazz producer before perfecting a trademark style of chugging, slow-motion hedonism that draws influence from both deep house and nu-disco. His main Remix foregrounds many of these trademark elements, in the process delivering a bongo-rich chugger laden with delayheavy bass guitar sounds, head-nodding drums, heady guitar loops and echoing vocal snippets. On the Dirty Mix, Trevisi reaches for tight, short TB-303 ‘acid’ loops, a more sparse and heavy rhythm track offering a more heads-down, dubbed-out affair that should delight those who love late night and early morning hypnotism with flashes of wide-eyed sonic bliss. Then, to round things off, Trevisi delivers a heady, atmospheric and spaced-out Dub full of jazz guitar licks, bubbling electronics, vocal snippets and effects-laden bass. It’s a winning combination.

Next Polyamore Recs release comes from Capofortuna – brothers Riccardo Cardelli (Funk Rimini) & Francesco Cardelli, and Davide Santandrea (Rame, Pastaboys) – the instrumental funk-jazz trio renowned for their ground-breaking productions and musical soundscapes. Here the Italian trio unveil a fusion of sounds with some heart felt nostalgia on their ‘Punti Di Vista EP’. In true Capofortuna style, this uber classy record pushes boundaries and is a further testament to the band’s constant evolution and commitment to musical innovation, all recorded at their boutique studio in Rimini.

The title cut is a collaboration between Capofortuna and producer Andrea ‘Neve’ Recla, highlighting their experiments with a Casio CZ3000 synth, adding a more futuristic electronic dimension. On ‘Venusian’ you will hear plenty of the Moog Rogue and the Roland JX3P, both machines together paying homage to Rimini’s vibrant arcade culture of the 90s. ‘Pianobar’ takes inspiration from the same musical moments of the 90s, adding melancholic trumpet flourishes played by Jacopo Buda. ‘Acid Basico’ nods its head to the darker sounds of Italo disco and Chicago house, seamlessly blending dub elements to create a genre-defying experience. Reflecting the trio’s shared musical heritage, ‘Punti Di Vista’ showcases Capofortuna’s ability to transcend genres at the same time staying true to their Italo-funk Rimini roots.

BRUK welcomes the daring shapes and inquisitive textures of ELLLL for her debut album, Earth Rotation. Across 13 scuffed cuts and grubby miniatures the Irish producer shapes out a distinctive sound world, steeped in sample science and powered by low-slung grooves. There's no direct message permeating Earth Rotation, but burning issues around embattled ecosystems hang in the air as ELLLL pushes her sound palette until it bites. Extended instrumental techniques lend the album an in-the-room tangibility, while dislocated micro-loops speak to less grounded atmospheres. Starting from densely packed collages and diligently chipping away until spacious, head-knocking arrangements remain, the end results of ELLLL's process call to mind the wayward sample acrobatics that made trip-hop and jungle so emotionally resonant and eerily alien in the same beat. There's rarely anything like conventional boom-bap or a cosily familiar break, but ELLLL finds compelling rhythms in unlikely sources of funk, whether plucked, bowed, sequenced or sculpted. Even when teetering towards techno on 'Titan', her particular approach is gloriously skewed and, by extension, innovative. No matter how serious the techniques involved, Earth Rotation is a celebration of the magic that happens when sound gets mistreated. If there are foreboding ideas lingering in the album's tendency towards dissonance, ELLLL also knows how to inject her work with a necessary mischief, making her a perfect fit amongst the maverick BRUK alumni.