Search:es k

DJ Support: Frank Rizardo, Capriati Bros, Dice, Marco, Bibi, Pawsa, Rossi, Richy Ahmed, Jamie Jones, Illario Alicante, Blondish

The Leeds/Hull born DJ has always championed new and younger artists. But with Nature his aim was to begin to develop the careers of next-gen talent alongside already established tech-house figures. After overseeing a steady stream of serious tech-house numbers as the Nature head, wAFF will take back the reigns for the label’s 12th release.

‘Leaving You’ sets off with an addictive groove that vigorously permeates throughout the 7-minute opener. Like many of Nature’s releases, the track features a vocal lead that will remain with you long after leaving the dance. Its vibrant sound design is underpinned by a tough bassline and simmering percussion.

wAFF employs a taut and squelchy pad combo on ‘Underbite’ to accompany a tumbling bass. The track unrolls like a coiled spring, steadily expanding into a hi-energy, foot stomper that oozes with a sugary ambience despite its somewhat hard-edged undertone.

The snappy claps and zig-zagging synths that open ‘Fat Couch’ are a constant throughout the EP’s final number. It’s another playful but sharply presented track that switches up late on as an ominous, Jaws like melody circles before a chopped vocal – which is instantly recognisable – signals the last few measures of oscillating bass, hypo hats and snares.

"The acclaimed 2007 album reissued on 1LP clear vinyl. Taken from the original 2007 masters when Pete Doherty was at the pinnacle of his creative powers, ‘Shotter’s Nation’ followed in the footsteps 'Down In Albion’, the band’s debut album, and Doherty’s first album outside of his first band - the era-defining Libertines. Both were met with commercial and critical acclaim, breaking into the top 10 of the album charts.

‘Shotter’s Nation’ is unmistakably Doherty. Melodic, stark, catchy, raw, brilliantly unique - his music has always created an unflappable loyalty from his many fans, remaining timeless, yet still sending a nostalgic excitement through its listeners. The album also features four songs co-written by Doherty’s then-girlfriend Kate Moss who also regularly performed live with them.

The approach to the recording and release of the album was an escape from Doherty’s previous methods. Stephen Street (The Smiths, Blur, Morrissey, The Cranberries) took over producer duties from The Clash's Mick Jones, and it was and his first album released by a major label, Parlophone."

The album SATO was made by the Ukrainian Crimean Tatar pianist and composer Usein Bekirov.
SATO was created during the difficult wartime for Usein’s motherland Ukraine and for the author himself.
Despite circumstances, the compositions of SATO express the ideas of the beauty and revival of Ukrainian music, a part of which is Crimean Tatar folklore.
The uniqueness of the release is caused both by the concept of the album and by the performers' star crew.

The jazz sound of the compositions of SATO is directed to the stylistic course of ethno-jazz and world music.
Rhythms and melodies of colorful Crimean Tatar folk music became the main source of inspiration in the creation of the album.
We can find both Usein's original author's themes, skillfully stylized to the oriental sound,
and referenced to the classic jazz vocabulary in its juicy riffs and grooves with features of fusion and funk music.

The name of the album reflected the inheritance of generations through music.
Sato is not only a folk instrument but also the name of the first Crimean Tatar jazz band, which made the first jazz arrangements of Crimean Tatar songs.
The music of this band became the basic musical experience of Usein Bekirov, because one of the members of the group was his father Riza Bekirov, to whom the album is dedicated.

The author and producer of the album is Usein Bekirov - Ukrainian pianist, composer, arranger, sound producer, and author of music for a number of films and theater performances.
Usein Bekirov cooperates with both foreign and Ukrainian musicians of the highest rank.
This is evidenced by the participants of the album Sato: Dennis Chambers, Randy Brecker, James Genus, Mike Stern, Ada Rovatti (USA), Hadrien Feraud (France), and Cenk Erdogan (Turkey).
Each performer reinterprets the author's material of Usein Bekirov through the prism of his own experience, character, and manner of performance, which was expressed in the daring stylistic combinations within a jazz style.

A special role in the creation of the album was taken by the participants of the recordings, especially, legendary jazzmen Dennis Chambers, Randy Brecker, James Genus, Mike Stern.
Their ideological and creative support became an important part of the creativity process.
Musicians expressed their impressions in small addresses for the audience.
One of the reviews of the musicians:
"The process of recording compositions was really exciting! This music reflects Usein's national origin and sense of his native culture.
It is full of real emotions. Actually, this music is quite difficult, but it is very well written and produced!
I sincerely hope you will notice this album, which also took part in Dennis Chambers, James Genus, Mike Stern, Ada Rovatti, and others.
I think it's going to be a really special album, can't wait to hear the final version.
When you hear about the premiere, I highly recommend listening to this new album created by Usein Bekirov.
It will be great!" Randy Brecker

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

Legendary French DJ and producer The Hacker debuts on Radio Slave’s Rekids with the ‘Laser & Smoke’ EP on 21st February 2025. The two-track ‘Laser & Smoke’ EP harkens back to The Hacker’s early 90s roots in Detroit-inspired Electro & Techno. First, he starts with ‘Turborave’, a tasteful, bleepy cut with an unignorable bassline and muted dub chords that wash over its snappy groove. ‘Turborave’ is the kind of heads-down, lose-yourself dancefloor moment for the later hours before ‘Harmonia’ sees The Hacker play with high-voltage cables on the B-side. Charged-up zaps and zippy acid call and respond while bodied drum hits keep the rhythm moving, whistles and pads occasionally joining in.

Pioneering DJ and producer The Hacker is renowned for being a leading proponent of Electroclash in the early 2000s, his Techno and EBM-infused sound, and iconic collaborations with Miss Kittin. With releases on labels like Dark Entries, Mannequin Records, and Turbo, as well as remixes for Air, Soft Cell, Dave Clarke, and Front 242, The Hacker remains a vital force in electronic music. He now adds Radio Slave’s Rekids to his extensive discography for the first time via the ‘Laser & Smoke EP.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Harry Romero, Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Tiger Stripes, Tal Fussman, and many more.

Escola Records is proud to present its third offering, this time from Pau Roca, one of the local representatives of the house sound in Barcelona with the greatest projection in the scene. He releases 'Your Energy' featuring the incomparable vocal talents of Laura Elle to bring the warmest vibrations as only she can. A phenomenal soulful house track cut filled with warm chords and dusty percussions that fuses Latin rhythms with classic house music. The release comes with the unmistakable sonic signature of the legend from Detroit, Alton Miller, and the collaboration between two of Barcelona's most intriguing and brilliant producers, Less J and Karmasound.

Oversized custom cut LP jackets (13” / 33.02 cm width)
Silkscreened with bespoke iridescent citrus green ink by Mark Rice
Short story by Natalia Zuluaga

Flexi 7”:
steaming mescaline (extended mix by bad lsd trips)
Citrus green metallic foil stamp
Pressed in full stereo
Edition of 150

I.

bad lsd trips is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On ultrafest, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On ultrafest (this album) something different occurs. The space and events are built around you as you move through the record.

II.

The name of the album is ultrafest, which should effectively provoke your mind's eye the imagery of young people dancing, salivating, grinding, and imbibing chemical compounds to the perversely formalized musical genres of “Electronic Dance Music” and latter-era Dubstep often heard in European Uber rides and energy drink commercials. A far distance from the icy and machinic reverie of Techno’s finest rave eras or the notable historical contributions of Miami’s cerebral producers to IDM’s global output, ultrafest is a libidinal catharsis as festival scaled to a multinational corporation of hedonistic excess. The festival has been a hallmark of Miami cultural industry production and optical enticement for tourism, purportedly bringing in nearly a billion dollars in revenue to the city since 2012. Scores of documentation exist wherein this decadent escapism leaves the concertgoer, usually in some neon garment on a near nude body potentially adorned with fluffy faux fur leg warmers, facing a comedown from the combination of volume, sun, dehydration, and methylenedioxy-methylamphetamine. This MDMA experience characterizes an aspect of the way bad lsd trips employs vocals and pitch on this album. The detached, high octaved longing of a high pitched vocal is decoupled from its typical auditory body of song. High-pass clicks and pops touch the (h)air on the back of the neck, promising goosebumps and teasing towards euphoric rushes of dopamine, yet also exist decoupled from the body of song. As the dopamine depletes and the sun imposes itself, Miami’s downtown of skeleton real estate is your company as you meander towards your parked vehicle to rest your fatigued senses, elevated heart rate, and quench the need for air conditioning on your skin. The immediacy of bombastic social immersion to architectural alienation palpable here.

III...

- Nick Klein

The Birgan project is all about melding diverse musical words - ambient, techno and Afro-inspired polyrhythms - into something that is utterly unique. Many artists set out with this intention but few achieve it as successfully as this one, as this sensational EP shows. It is an immersive and escapist five-track work of stunning sound designs and inventive rhythm that feels both organic and natural yet synthetic and futuristic. The tracks explore deep, mysterious sonic landscapes that are both tranquil yet complex and make for an immersive, thought-provoking listen from the dubscapes of 'Beats Of The Congo Cosmos' to the more psychedelic realms of 'Subaquatic Sonic Voyage'.

Although he had already released his music on other labels, this time label owner Suburbial makes his long-awaited debut on vinyl under his own imprint for its fourth release. Featuring four distinct tracks, the EP firmly establishes the direction and identity of the DeepnosiS concept.

Control 333 is the E.P. of Uruguayan artist Leo Mendez a.k.a Jardines Sin Explorar, who has left this earthly plane at the beginning of 2024.

This release features 2 super powerful EBM tracks, with infernal bass lines and melodies that achieve a rave atmosphere, 2 pieces of music that takes us on a ride to the true essence of the Underground culture of electronic music.

"Heridas", a track with a classic Ebm sound with a strong bass that marks the hypnotic of the track, accompanied by melodies in their leeds with influences of the punk sound that characterized Jardines, a track loaded with many feelings that are transformed into pure fire. "Turbio" is the second track of the ep, which is more characterised by the electro industrial sound with post punk influences, rhythmic leads and break drums with crashing vocals that lead you to explore your darker side.

This EP contains 4 tracks inspired by the dance music boom in Europe from the late 80s to early 90s. Luis composed all the tracks using a Novation BassStation, an Akai MPC 2000XL for the drums and sampling, and a Korg M1 for the pads and melodies, using the occasional VST where appropriate.

A1 “Miedo aqui estoy” (Fear, here I am) combines a fast bassline with a hypnotic melody, New Wave influences and shades of electro unite to create an immersive atmosphere. The message ‘no to fear’ being transmitted through optimistic and euphoric pads.

A2 “Neminem Laedere”, inspired by New Wave sounds and rhythm, this track uses bright synths to create audio textures that invite introspection. The hypnotic melodies repeat throughout, enforcing the title's message ‘do no harm’.

B1 “Noches y Amaneceres” Taking the heavy and dark rhythms of new beat and entwining the contagious melodies of Italo provided by bright synths, this fusion gives the track a unique bouncy atmosphere.

B2 “Violines en el barrio”, A track that revolves around a focus on sampling. The breakbeat influence accompanying synths with an 80s flavour and pads providing a deeper texture.

Seit der Gründung 2010 durch Andrew Weatherall und Sean Johnston entwickelte sich die Clubreihe "A Love From Outer Space" (ALFOS) zu einer britischen Institution, expandierte und erreichte ein internationales Publikum. Als Reaktion des Undergrounds auf den schnelllebigen Mainstream verfolgte ALFOS einen langsameren, nachhaltigeren Ansatz bei einem Tempo von maximal 122 bpm. ALFOS wurde für seinen eklektischen und hypnotischen Sound bekannt, der alles von Cosmic und House bis zu Dub und Post-Punk vermischte. Dieser Jubiläumssampler spiegelt die Musik wider, die ALFOS in den letzten 15 Jahren geprägt hat. Das von Johnston zusammengestellte und gemischte 19-Track-Album ist eine Hommage an die reiche Geschichte des Clubabends und sein Engagement, musikalische Grenzen zu erweitern. Es enthält zahlreiche exklusive Titel, darunter The Blow Monkeys' begehrten Neville Watson-Remix und Brioskis "Call 626", sowie eine breite Palette von Sounds, die sowohl die Vergangenheit ehren als auch die Zukunft begrüssen.

This first Adam Beyer x Eli Brown collaborative release has been feverishly anticipated by fans keeping tabs on their growing friendship and further excited by the pair’s first official B2B at Lisbon’s Brunch Electronik in September. Now ‘Overdose of Bass’ EP is here, a power-packed techno two-tracker enriched by diverse elements, on Beyer’s Drumcode.

It also marks Eli Brown’s welcome return to the label after his massive collaboration this January ‘When I Push’ with Layton Giordani and OFFAIAH following Brown’s 2022 EP ‘Deep Down’. The EP ‘Overdose of Bass’ combines recent developments and past influences of both techno giants.

‘Overdose of Bass’: the title track has rattling snares and a breaksy beat ushering in a spoken vocal layering different levels of processing, for a half sensual, half robotic riff – ‘there it goes/ overdose/of bass’ – with the doppler siren builds, giving a spacey, mysterious call and response. Hypnotic, disturbing, and edgy.

‘Living In The Moment’: an urgent techno beat, a Moroder-esque bass synth, and a recurrent riff like a signal becoming ever more high and desperate, are counterpointed by an ethereal, quavering, sweet female vocal, strengthened by the melodic build in the huge central breakdown. Urgent, demanding, hyper, this is dancefloor heaven.

Dailysession blast off the another night club weapon. Side A is from Jonattan Levingstone aka Sloppy J. It's the peacetime dance floor bomb with driving energy that perfectly embodies the essence of deep house. Side B is from DJ Monchan and Alfonso Bottone, creates an immersive soundscape ideal for both late-night listening and the club environment.

2026 Repress
Oscar Mulero keeps busy in his studio facilities as usual. His musical output keeps growing and always wandering into new directions and flavors while preserving his artistic integrity. For this Ep on his very own Pole Group imprint he showcases his combative side after some excursions into more profound and intricate territories.

Poisonality EP is about the wise use of distortion on techno, is about non conforming with the seasonal standards, about investigating new rhythms, new types of arrangements and new boundaries in sound design, always remembering the roots.

Aroma de Falso Amor is the first exercise, exploring the abrasive power of broken distorted beats, overdriven drones and textures and hyper dynamic song structures. The result is a non conventional techno workout, essential to give spice to any set.

Poisonality gives name to the EP and works with asymmetry combined with the right dose of crispiness, creating a super shuffled hi tech jam. Chaotic, hypnotic and mental.

Iris Malicioso opens the B side with an eye on the funkier Detroit tradition combined with the power of the best British influences from the nineties. Here drums and stabs are the main ingredients, interleaving, mutating and constantly evolving. Hi tech funk in its purest expression.

Dos Pequeños Zorros closes the tracklist, again focusing on the dancefloor and keeping the ingredients minimal, continuous and obsessive with a rugged, constantly twisted sequence running over a precise groove, keeping things busy through all the structure

Poet, novelist, musician and academic, Anthony Joseph teams up with legendary UK producer Dave Okumu for forthcoming album, ‘Rowing Up River To Get Our Names Back’

Dave Okumu, known perhaps best as frontman for The Invisible, though digging deeper into his production credits, huge names emerge such as; Grace Jones, Amy Winehouse, Jesse Ware, Rosie Lowe and Eska. On this album, the magic and alchemy of Dave’s production style showcase subtle sonics and deep layering resulting in a contemporary sound to carry Anthony’s afrofuturistic metrical meanings.

Anthony and Dave first came across each other when working with Shabaka Hutchings during Covid broadcasts, and then after Anthony performed some poems on Dave’s 2023 album ‘I Came From Love’, the seeds of collaboration were sown.

With a little more psychedelia, a little more experimentation, Dave’s eclectic vision focuses on the actual sounds on these pieces. Anthony stated that “The best producers guide you, not push you” now add to that the fact that both these humans were born on the same day, a concoction of laid back attitudes in people with strong purpose, some real magic can happen, naturally.

Early writing sessions for this record took place in 2022, around Mount Blanc in France. Anthony was away touring with long-time collaborator, Jason Yarde. Ideas were a little thin and they found themselves somewhat repeating previous work resulting in Anthony rethinking things a little, and so entered Dave Okumu.

LP opener ‘Satellite’ is a fine example of how this new partnership pans out. New musicians have been enlisted; Dan See (Drums), Aviram Barath (Synths), Nick Ramm on Fender Rhodes and Byron Wallen (Trumpet). Add to that the mighty vocal power house of Eska and we have a whole new dimension of soul and depth, to carry Anthony’s statements. “You build a wall, we go under, you build it higher, we go higher, like a satellite” .

On the album's second single, ‘Tony’ - there’s a nod to all drummers and creators of African rhythms, from the point of view of Afrobeat legend Tony Allen. Highlighting this is drummer’s drummer Richard Spaven as Dave’s choice of skin beater. He successfully reminds us that Tony was someone who understood the real power of rhythm and how it is used to unite people.

As well as the new musicians on this LP, Dave Okumu played all the guitars and used the studio as his tool. On ‘A Juba for Janet’ - a poem to Joseph’s mother, and a track so bass heavy that it feels as though it could sit in a deep dubstep set in Plastic People days, - Anthony’s voice reaches straight down your ear canals next to dark drums, huge synths and delayed saxophone stabs from Colin Webster. Slightly more introspective verses on ‘An Afrofuturist Poem’ see Dave’s beats show off the real future sound of this record, kalimba, moog bass and guitars all played by the man himself.

Mellower and deeper moments are also present, Anthony’s cryptic yet informative storytelling is at its absolute best on ‘Churches Of Sound (The Benetiz-Rojo)’ - Caribbean and Windrush history reeled off alongside a linear musical timeline of Black music in the diaspora.

A reminder that this body of work is first of 2 volumes, ‘Rowing Up River To Get Our Names Back’ is not a follow up to Anthony’s previous album, but more a development of his 2006 novel, ‘The African Origins of UFOs’ a book where experimental elements of afro-futurism, metafiction, science fiction, surrealism, mythology are rewritten in Anthony’s innovative language. Look out for Volume 2 also coming in 2025.

Anthony Joseph releases, ‘Rowing Up River To Get Our Names Back’ (Vol. 1) via Heavenly Sweetness 7th February 2025 and he will play live at Ronnie Scotts in London on 14th March 2025, with Dave Okumu as a special guest.

CREDITS:

Vocals - Anthony Joseph

Additional vocals, vocal arrangements - Eska Mtungwazi

Producer - Guitars, Bass, Moog, Synthesisers, Programming, Percussion - Dave Okumu

Drums - Dan See

Drums on ‘Tony’ - Richard Spaven

Synthesiser - Aviram Barath

Fender Rhodes, Synthesisers, Nick Ramm

Trumpet - Byron Wallen

Saxophones - Colin Webster

Trombones - James Wade Sired

The first-ever vinyl reissue of the classic 1986 debut album from perennial pop icon and pin-up Samantha Fox. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Touch Me features four hit singles: the international smash ‘Touch Me (I Want Your Body)’ (#3 UK and #4 US), ‘Do Ya Do Ya (Wanna Please Me)’ (#10 UK), ‘Hold On Tight’ and ‘I’m All You Need’. Immediately establishing Samantha’s signature pop-rock sound, on its original release the album hit #17 in the UK, going silver, before reaching #24 in the US with a gold certification. Pressed on striking black vinyl with white and pink splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics. A strictly limited-edition picture disc is also available. Touch Me is reissued alongside Samantha’s self-titled second album and 1989’s I Wanna Have Some Fun.

Círculo Cerrado welcomes its first sub-label, E.T.D.G., where sound becomes a story.

Aniano invites you to an immersive auditory experience with Una Serie de Crímenes Sonoros. This first concept EP, weaving between fiction and reality, is predominantly driven by Techno, following the sonic direction previously explored in El Terror De Gáldar on Time To Panic. Naturally, it also features the hints of Electro and Minimal that have become hallmarks of Aniano’s music.

The record’s mysterious and spatial atmospheres draw heavily from 1980s sci-fi cinema and retro video game aesthetics. Rhythms from the iconic TR-909 and intricate synth work from the Nord Lead 2 crown this 12-inch release.

More than just a collection of tracks, Una Serie de Crímenes Sonoros is an exploration of human darkness through electronic soundscapes—a must-have for collectors of conceptual and boundary-pushing music.

In Woodland is a journey through the duality of solace and survival, marking the artist’s first solo EP since the war in Ukraine began. This five-track release delves into the tension between finding peace and enduring conflict.

At its heart, In Woodland is a tribute to the forest—a sanctuary of strength and reflection, offering escape from life’s chaos. Yet, the title also evokes the woodland camouflage pattern, symbolizing how war leaves an indelible mark on identity.

The EP oscillates between quiet introspection and raw confrontation, blending delicate melodies with haunting textures. Deeply personal and cathartic, it reflects resilience and reminds us of the sanctuaries—both physical and artistic—that sustain us through the darkest times.

After Dull Boy Johnny's previous release, a double EP with a tropical A-side and an erotic B-side, this time the three gentlemen are out on the dance floor. After all, the neighbours decided as much.

Unlike the recordings of their previous work that took place abroad, this time they stayed in a steamy attic room in Belgium, where guitarist and producer Jan built a studio. Unable to record at night because of neighbours who did not (yet) appreciate Dull Boy Johnny's music, they dove into Antwerp's nightlife.

The group's previous work took you on a cinematic journey where every musical nuance takes you to a specific setting. Be it an erotic seventies scene, a beach party in the Bahamas, or a blood-curdling chase in the Wild West, Dull Boy Johnny covers it all. Nard Houdmeyers, Rik De Bal and Jan found each other in a shared interest in film genres such as blaxploitation, neo-noir and spaghetti westerns. And therefore also the artists inherent to these genres such as Isaac Hayes, Curtis Mayfield and Ennio Morricone. Dull Boy Johnny's conceptual approach to music can be traced back to this passion for cinema.

For the new EP, however, they traded that cosy movie-watching for turbulent nightlife (the angry neighbours, you know). Besides, it was about time to get their inspiration in the flesh. Dull Boy Johnny immersed himself in the pulses, flashes and swell of downtown Antwerp. Thunder chasing crept under their skin and then into their guitars. In grandfatherly fashion, they then turned to composing, first with just bass, guitar and vocals. In that small lineup and with the sounds of the night still reverberating in their minds, the first pieces of the puzzle were laid out. After that, the sound was opened up and a solid rhythm boost was added. This defined the catchy, up-tempo nature of the upcoming EP that centres on themes of dancing, flirting and partying. Expect rousing riffs, catchy hooks and swinging rhythms. Details were meticulously laid out and bricked into the songs with delicate grouting. The fine polishing of the songs was done with patient finesse and a constant attitude to serve the song. With songs like Suspicion, She Can Groove and Dynamite, it is immediately clear that the gentlemen got their mustard from the club: action, party and spunk! All without losing their typical sensuality.

Despite the different working methods for the third EP, there are a lot of recurring elements that define Johnny's fresh sound. The essence? Catchy high vocals contrasted with a sensual baritone voice, carried by a groovy bass and rhythm section. Around it, the details that give the songs the right atmosphere swirl.

Dull Boy Johnny's music prefers to function as a soundtrack to your own imagination. As you listen, you are invited to wander through the various landscapes of their musical world, regularly giving a nod to the more lustful side of your brain. The songs have already been praised for their compelling melodies and irresistible energy.

With this release, Dull Boy Johnny proves their ability to create timeless music that both touches the soul and moves the body. So surrender to Dull Boy Johnny's punchy grooves and dance the night away. Long live the neighbours!

Liverpool’s breakout techno star Massano’s second solo release on Drumcode, ‘The Lights’. Following this year’s stellar three-tracker EP ‘Telepathic’ after Massano’s track on last year’s Drumcode A-Sides Vol. 12, Adam Beyer welcomes him back to his imprint.

Massano’s rise continues meteoric, with thunderous festival performances at Tomorrowland, Kappa Futur Festival, Ultra, & ElRow, sold out headline shows at Mute, Brooklyn Mirage, and Hi Ibiza … alongside releases on Afterlife and his own label Simulate which reflects his technology-dominated futuristic vision.

With chart topping success and the prestigious honour of having a BBC R1 Essential Mix, Massano’s aggressively powerful techno and rattling, insistent percussion interspersed with strong melodic riffs is clearly in ever-increasing demand. ‘The Lights’: with typical insouciance, Massano audaciously and successfully melds contrasting scenes/cultures/times – a bubbling, arpy bass and breakdowns of melodic, ‘hammered synth’ notes bring a North African/Middle Eastern vibe, until an interlude of building tension, with demanding drums, siren call, hard stabby chords and a huge drop, introduces a spacey, dystopian, futuristic techno sound. Fast, furious, takes no prisoners, dancefloor-compulsive.

Valerio Vaudano joins the roster of Cinthie’s 803 Crystal Grooves sub-label Collective Cuts with his ‘Lose My Mind’ EP.
Valerio Vaudano ‘: ’I'm a fan of Cinthie and feel honoured to release these tracks on 803 Crystal Grooves! This is the kind of sound I mostly love to play and produce at this time: house sound that blend energy, groove and 90s nostalgic melodies with Detroit, Chicago and Italo flavours. this new EP represents me best and explains better than words. The entire EP was produced using a 90s sampler without using a computer, I'm very proud of
the result! I hope you enjoy it!’’ Title-cut ‘Lose My Mind’ leads, laying down crisp saturated drums, crunchy stab sequences, choppy vocal hooks and bright strings all dynamically evolving throughout for ultimate dance floor impact. ‘Sunday Remedy’ follows with bumpy breaks, a weighty kick
and amalgamation of vocal samples in combination with gritty bass stabs and classic piano chords to perfectly encapsulate the essence of house.
Opening the flip-side is ‘Down The Street’, diving deeper with airy chords, breathy vocal chants and bouncy bass stabs intertwined with a more raw, reduced rhythm section. The aptly titled ‘Smooth As Butter’ then rounds out the release with a nod to the Detroit House sound, fusing shimmering keys with jazzy drums, twinkling chime melodies and lowpitched vocals across its near five minute duration.

‘Ice Cream Dream Boy’ serves as a celebratory anthem, an ode to manifesting dreams into reality, and a testament to Shanti's knack for creating infectious and uplifting dance music as she explains: “I wanted to make a happy and uplifting vocal summer tune and I just so happened to be in the peak honeymoon romance period with my now partner (The Ice Cream Dream Boy). He had discovered my love for soft plush toys and decided to buy me a cute little fluffy Jellycat Ice Cream so when I made the instrumental I felt insecure and unsure about what lyrics to write, so I just decided to sing about what I was currently experiencing in my life. I had been a fan of Shivum Sharma for a while and I had just done a remix for his amazing song '7am', so after establishing a cute lil connection I thought I’d ask him to help me write the song as I was very new to writing lyrics!”

Back in stock due to popular demand, the 33rd release in our signature Brazil 45’s series. A spellbinding pairing of Marcio Lott’s rarer than hen’s teeth, sun-soaked groover ‘Tema de Baby’ and the samba-rock fusion flavours of Silvio Cesar ‘A Festa’.

Marcio Lott’s ‘Tema de Baby’ is a REALLY rare one. We spent a long time trying to license this and were delighted to be able to release it as part of this series. Laid back sunshine samba-rock/funk/MPB, laced with Ramsey Lewis-esque piano and wah-wah guitars and lovely vocals top it off. Originally released on 7” by Tapecar in 1974.

Silvio Cesar’s ‘A Festa’ was brought to our attention - like many others in this series - by the almighty duo Brazilian Beats Brooklyn. A firm favourite here with everyone at Mr Bongo it’s a certified stormer from the opening beat. Jazzy, samba-rock fusion that touches on disco when the hi-hats open up. Floating synth lines, tough drums and crowd noise throughout add to the scintillating vibe. Taken from his LP ‘Som E Palavras’ released in 1977, as also featured on our Brazilian Beats Brooklyn compilation.

Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.

‘Subtle Bodies’ is the new album by US-based sound artist and composer Francis Morning, released on Ltd. cassette via Lo Recordings, which contemplates the concept of the non-physical, energetic layers of a person that exist alongside the physical body. Being the next installment of Lo Recordings' ongoing SPACIOUSNESS series, the album features 15 tracks that embrace the theme through hints of electric piano melodies buried under layers of tape hiss, meandering sine wave bass notes, and expansive ambient textures.

The compositions on ‘Subtle Bodies’ are meditations on impermanence, imperfection, and the natural process of decay, approached without judgment. They arise from moments of introspection, often inspired by the contemplation of inner channels, energies, mindfulness, breath, and other Tibetan Buddhist practices. Deliberately recorded using minimal equipment, each piece explores and pushes against the thresholds in an attempt to strike a balance of texture and noise. About Francis Morning:

Francis Morning is a US-based sound artist, musician, and composer known for crafting gently textured sonic environments using a simplified palette of musical hardware, including analog tapes and cassettes, field recordings, synths, pedals, pianos, and acoustic and electric guitars. His work embraces imperfection, human quality and touch, and the transient nature of life. The music began to take shape as simple, personal daybreak rituals with no audience or expectations. Each piece was recorded live in single takes, with the original elements eventually discarded or recorded over, as a statement and exercise in impermanence and letting go.

After his furious comeback, STARTER frontman Francis Foss has fallen in love. In “True Love”, one of the two new tracks on the upcoming maxi-single, he sings about the most overwhelming of all feelings. “Love is and always will be the most beautiful thing in the world,” says the young-at-heart Francis with conviction.

But when you turn the orange record over, you quickly realize: “Vision on My Mind” sounds more melancholic, darker. “Being in love has its mysterious side,” Francis explains. “Dreams and reality often go hand in hand. Especially when the full moon rises over New York.

Behind this production is once again the Swiss duo VISION, who brought STARTER back to life with “Future Shock”. For “True Love” they were able to use a demo tape by Reto Keller, alias “Gary Gray”, who was active for STARTER from 1985-1989. The result is an exciting mix of genres in the experimental style of the 80s.

The 12″ double A-side maxi single “True Love/Vision on My Mind” by STARTER is strictly limited to 300 copies and is pressed on orange transparent vinyl. It comes in a disco sleeve (opening at the top) and is protected by a sturdy plastic cover.

New full-length LP from Toronto producer, DJ and recording artist Tony Price on his Maximum Exposure label. Tony Price is a multi-time Juno and Polaris Prize nominated producer, having worked on a wide variety of records on labels like 4AD, DFA, Slumberland and more. Host of “The Maximum Exposure Power Hour” on NTS Radio

“Requiem For The Ontario Science Centre” is Tony’s ninth full-length LP since 2017, following a series of acclaimed records on labels like L.I.E.S. Records and Telephone Explosion which received coverage and reviews from established outlets like Pitchfork and Resident Advisor. “Requiem For The Ontario Science Centre” pays homage to the beloved 1960’s Canadian landmark and renowned brutalist architectural marvel, which was abruptly closed in the summer of 2024.

The album features longtime collaborator and Caribou touring band member Colin Fisher on Saxophone. The music is Rich with kaleidoscopic saxophone loops, surrealist sound collages, and retro-futuristic synthesizer mirages and will surely resonate with fans of Boards of Canada, Terry Riley and Don Cherry’s “Brown Rice”

Bash Mans ‘Bash to Basics’ EP marks a major milestone for Scotlands Underground Techno scene.

Edinburgh, Scotland - Stepback Records proudly announce the highly anticipated release of ‘Bash to Basics ‘ EP the debut 12” vinyl from Glasgows own BASH MAN, aka Jamie Morrison. Dropping on Jan 31st 2025, the records captures the essence of raw, unfiltered techno and embodies Bash Mans unwavering dedication to the underground music scene.

With previous digital releases on labels like Scott-Fear Es Posh End Music, and Tom Carruthers Non Stop Rhythm and Data Sync labels, Bash Man has already carved out a name in the dance music world. However, this 12’ release promises to be a transformative highlight, cementing his reputations a force to be reckoned with in the techno community.

- Channel Tres releases his debut album Head Rush via RCA Records.

The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.

The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.

But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever

After the success of the previous three chapters, Cristian Cosignani, also known as 5UNIVERSOS, presents a compelling fourth volume, a richly layered album infused with rhythmic elements that are perfect for the dance floor. With a distinctive blend of sophisticated house and minimalist dub, the Mantra EP is crafted to immerse the listener in the elevated vibrations of its four tracks, each serving as a meticulously designed groove instrument.

The journey begins with "Mantra," featuring a sequence of syncopated bass lines and deep vocals laid over a strict, minimalist drum pattern. "Thastha" follows with a funky bass progression, complemented by a sensual female chorus and a retro drumbeat, evoking a sunrise at sea.

On the B-side, "Greet" delivers a dry, rhythmic punch with a bassline that aims to make listeners smile with their eyes closed, as the filter opens and closes.

The EP concludes with "Tolerance," which introduces a Balearic string arrangement, adding a deeply spiritual and introspective layer to the overall experience.

This album is undeniably a pure expression of rhythm and the club atmosphere - an essential addition to any collection.

Chileans Are Playing

Master by Claudio Solis

PulciPerla will unveil “Tatekieto”, their new album, on its release, January 04, 2025, on Prado Records / Cie Pulcinella / The Pusher. This opus will be presented on Wednesday, February 05, 2025, on the stage of FGO - Barbara, Paris (France) during an exceptional launch concert. The eponymous single “Tatequieto” was released on all platforms on November 22, 2024.

Take an iconoclastic and energetic quartet from Toulouse, combine it with a female power trio from Bogotá, shake it up, and you will get Pulciperla!
After an explosive encounter in Colombia in 2019, the fiery trio La Perla and the unclassifiable Pulcinella decided to create an original repertoire: a hybrid, swaying, and sensual music where vocals, saxophone, keyboards, double bass, and percussion blend generously, driving a powerful trance-like pulse. A quirky and striking repertoire infused with bullerengue, reggaeton, funk, and champeta influences, which stirs the fire and gets you moving. The tribal music of La Perla’s percussionist singers merges with Pulcinella’s explosive groove to electrify the audience and awaken their primal instincts!

PulciPerla is composed of :
La Perla: Diana Sanmiguel: vocals, maracas, guacharaca;
Giovanna Mogollón ‘’Roberta Leono’’: vocals, tambor alegre;
Karen Forero:vocals, gaïta, tambora
Pulcinella: Ferdinand Doumerc : saxophones, flutes, keyboards;
Jean-Marc Serpin: double bass;
Bastien Andrieu: keyboards ;
Pierre Pollet: drums