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Tape Reworks, Vol. 2is the fourth project by Langham Research Centre released onNonclassical. Following the success of theirTape Works, Vol. 1and subsequentTapeReworks, Vol. 1(which featured remixes by Jim O'Rourke and Group A), this EP presentstwo remixes of tracks fromTape Works, Vol. 2:'Movable Fields', remixed by Kara-LisCoverdale, and 'Nachholbedürfnis', remixed by Beatriz Ferreyra. Kara-Lis Coverdale's 'Movable Fields' is an icy soundscape, gently moving at a glacial pace, evoking the feel of a field recording from a strange planet. 'Movable Fields' draws from elements of twoTape Works, Vol. 2tracks, 'Accarezzo' and 'Terminal Voltage Traces'. Ferreyra's remix of 'Nachholbedürfnis' is a dadaist cacophony of bleeps and lo-fi scratchy samples, darting chaotically throughout the track in true GRM fashion. The original album utilizedrecordings made in specific locations, particularly brutalist buildings, as an audiomanifestation of modernism.

Recall IV is the project created by Andre Fischer that reached a massive success in the German techno scene in 1990 with the release of the single “Contrast” on Techno Drome International / ZYX Records. This was shortly followed by two more releases in 1991 (“Contrast – Part 2” and the extended play “Aesthetic”) and contributions to various compilations.

Andre has been a very active techno composer and producer since the late 80’s working with people like Lars Janzik, Carlos Perón, Giora Schein & Holger Wick (Konzept), Volker Then (Friends Of Carlotta) on countless projects including Scope, Scrot, Technoline, Trust in 6, ADSX, etc.

“Interstate” compiles tracks from all Recall IV singles, some old compilations and a selection of unreleased cuts and remixes. Limited edition of 500 copies on double vinyl with insert (thick black cardboard with die-cut logo) and sticker.

Bread & Souls is a new project dreamt up by Italian entrepreneur and music lover Franco Fusari. Franco invited Mark de Clive-Lowe on board to direct and produce an album of collaborations with some of our favorite artists including the likes of Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, Tommaso Cappellato and more.
Chapter 2 EP continues with more future classics, kicking off with the jazz dancefloor workout Never Gonna Leave featuring the Queen of Broken Beat Bembé Segué on vocals and shredding sax solos courtesy Teodross Avery. In classic soulful broken beat fashion, Bembe reunites again with Vanessa Freeman for Technicolor Sunshine – drenched in MdCL’s signature production sound. Two remixes complete this installment with Mr Scruff and Kaidi Tatham’s downtempo reworking Anybody Out There (check out the original version on Chapter 1) and Italy’s G&D coming through

The package, posted from Inglewood in California, dropped through my letter box…
I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly.
It took a second play of the VHS to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band.
Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans.
We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street.
“I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office.
I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so.
That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot.
Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it.

All those creatures, standing there, making time. Fury eyes, golden dust on artificial fog. Dancing on glass, repetitive poems, looping long after the last loop looped away. Oriental acid, frenzied samples, low hanging film noir suspense. This is DALO. Or not. She is many. Dry maniac downbeat is her craft. Or dark-ish pop-not-pop. There is dub, trance, techno, too. She is known for releases on labels like ESP Institute, WARNING, or Tresor. She is part of bands like Init. She played them all, those clubs, that matter, and those that matter more. Live. Alone. As an artist. With a band. Here she comes with her first album. On the R.i.O. sphere. Her homebase. A trusted zone for experimentation. She brings “Duster”. Seven tunes twisted in different dreams. Fast, slow, veiled, enchanted, haunting trenchant. She sings. These songs. To dance. For a different, stripped-back trance. DALO. Her record longs for a stage. Exporting grace, face to face. A work like a mirror. Hypnotizing. A psychedelic portrait of a performer. Nuanced industrial veils ceremonial journey music. Claps, Jungle. Desolate vocal snippets. A whirlwind of words. All those chords, hanging there, kick drum time. Fury eyes, golden horns amid acid fog. Dancing on glass, cyclic synth-lines. DALO. Duster. A-round-and-a-around. Circulating the ritual.

This record was on our radar for quite some time, but we didn’t know who the artist actually was as it was incorrectly credited on Discogs. But as luck would have it, whilst speaking about this release to our artwork guy at the label, Diplomat, he said that he knew them! So, a few emails and phonecalls later and we had arranged this repress.

Originally this only came out as a white label in 1993 on Dance Bass Records out of Essex which was part owned by Battery 03! A highly sought after EP like all releases on Vinyl Fanatiks, these four tracks perfectly encapsulate the sound of the early 90’s Essex scene.

Only 350 pressed on an incredible marbled vinyl.

The Rave Doctor – a pseudonym of Dave Wallace, who had a huge input and impact in the UK rave, hardcore, jungle and drum & bass scenes under numerous names such as Mad Dog, Fugitive as well as Aquasky, plus many, many others!

This is the second EP under his Rave Doctor alias that was originally released in 1993 on the Southampton label Adrenalin Records, that was run by Stu J (who also had a release on Vinyl Fanatiks a few years back). Featuring the track ‘Ruff In The Jungle’ that went on to become an anthem in Tenerife where 10,000 ravers will all throw their hands up and cheer when its dropped at a festival. I am reliably told that the track is bigger than Liquid’s ‘Sweet Harmony’ over there which came as quite a surprise to Dave who only recently found this out.

All four tunes are anthemic party tracks with that Dave Wallace melodic midas touch. If you like this, then grab a copy of The Rave Doctor ‘Lost In Bass’ EP which is still available via Sequence.

naive's 20th release epitomizes what the Lisbon-based label, run by Violet, has become cherished for: imaginative yet timeless, soothing yet moody, melodic yet sonic music. Entitled 'Computer Hermetics', this new record is an EP by UrbnMowgli, a fairly new Berlin-based artist who began releasing music in 2020. The opening track, 'Fast Love Life', is a 145 bpm electro-bred, breakbeat-driven emotive dancefloor banger. It features menacing stabs juxtaposed with beautiful pads and acid-drenched arpeggio motifs that lend it a oneiric quality. 'Oracle Algorithm' picks up the 303 spirit and delves into trippier territories, densening the dreamlike, expansive atmosphere while infusing the record with electro-driven grit. Closing side A is 'Warschauer Rush-Hour', a futuristik, high-tempo twisted electro banger that's both tough and playful. 'Immaterial Desires' inaugurates side B--an ode to adventurous drum programming and intricate sound design in the form of a percussion-punctuated curveball belter. 'Digital Dawn' brings it all back home to the heart and closes the record with its deepest, most immersive moment, giving us big bass lines that alchemically converse with angelic bleepy melodies as if soundtracking a soulful sci fi movie that doesn't exist yet.

The debut single from North Satellite's 2023 album "Past Life Half-Lived" on El Triángulo Records. Featuring the original LP mix by Darshan Jesrani and alternate versions by Eugene Tambourine and Conrad McDonnell of Idjut Boys fame. One of the true heads. Limited to 300 units.

One of the most consistent new labels around, Cyphon Recordings, marks double figures with another standout release that gleans from the past, but faces the future. This time they look to the talents of Emotive Technology, a new alias from Chilean Massiande who provides a five-track EP of machine-wielding, soul-rousing techno from across the spectrum.

Although this may be the first release under his new moniker, Massiande has spent the last decade putting out productions with labels such as Housewax, Phonica, Freerange and Groovin. Firing on all cylinders from the get-go, ‘Rise’ kicks off the Walk Into The Light EP. A hyperspace melding of new beat, Italo and arp-operating techno that opens out into a slice of peak-time revelry.

The swirling textures of ‘It’s On’ follow, pushing you into the next dimension. A hypnotic, entrancing and arresting heads-down powerhouse. Crunchy and considered it's the kind of strobe-stuttering basement jam that turns heads inside out.

Two Detroit-leaning tracks ‘Your Zone’ and ‘Walk IntoThe Light’ are up next. The former is a heavyweight machine workout. Layered synth lines and crisp drum programming transfix, as that grooving low-end powers bodies into bedlam. The latter, a Motor-City-influenced tour de force. One that sees Massiande recode the circuitry to hit with a piano-laden stunner, balancing power and presence, with emotion and nuance.

Closing out proceedings, ‘The Swing’ sucks you in deeper. A resonating world of synth stabs, pulsating basslines and atmospheric electronics.

Doing the Emotive Technology namesake proud, Walk Into The Light is machine music hardwired with a heavy sense of soul.

Repress!

New school Italian techno sensation Alignment is back with a third thrilling EP for on Charlotte de Witte’s KNTXT label that once again stands him apart.

Alignment's previous outings on the label - the Time EP in April 2020, then his Nothingness EP in November 2020 - made huge impacts. They are standout techno offerings from a young and exciting artist who has quickly risen to the top. He has remained hugely busy in the last 12 months with a wide-ranging sound that takes in everything from old school bangers to trance-tinged rollers via futuristic workouts.

Says label boss Charlotte de Witte, "Alignment's music has been strongly represented in all my livestreams of 2020 and 2021 and I honestly can't wait to finally bring his music and his latest creations on Power EP to the dancefloor. It's made to make you move and I'm very happy to have him on board once again!“

The artist himself adds, "The vibes we shared pre-pandemic on our beloved dance-floors inspired me a lot to create Power EP. I tried to focus on effective and highly energetic, peak-time techno weapons for KNTX011. Signature synths, big stabs and kicks following only one formula - no compromise and four to the floor.”

First up is Power, a high octane track with hard drums, slamming bass and bright synths that cannot fail to get hands in the air. The excellent 'Disconnection' has laser-like synths shooting across the face of the track while big, edgy trance stabs light up the barreling drums from way up above. 'Frequency' is another trance-influenced track that brings peak time energy to stomping and distorted drums. It is an emotive rollercoaster that never lets up and will make a mark on even the biggest dance floors. Last of all is 'Radioactivity' which has scuffed metal textures, crashing drums and strobe-lit synth lines that will turn every party into a rave.

repressed !

● Essential 14 track collection of "WaJazz" music selected and compiled by renowned Japanese jazz expert Yusuke Ogawa, owner of the Universounds record store in Tokyo.

● Gatefold 180g heavy double vinyl LP. Comes with extensive track-by-track liner notes by Yusuke Ogawa.

● All tracks licensed by Nippon Columbia, Tokyo, Japan.

● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

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Universounds, HMV Record Shop and 180g team up for an exceptional release: from blazing hard bop to free jazz, to introspective saxophone solos and massive big band sounds, renowned Japanese jazz expert Yusuke Ogawa presents an essential 14 track collection of "WaJazz" music taken from the Nippon Columbia vaults. Featuring Jiro Inagaki, Minoru Muraoka, Hiroshi Suzuki, Hozan Yamamoto, Count Buffalo, Takeshi Inomata, and much more!

"Japanese jazz has been recognized and celebrated by music lovers worldwide for decades. The origins of this trend may be traced back to the rare groove movement that flourished in the 1990s, but its current deep and wide popularity seems to be connected to the fact that Japanese people have been reevaluating their own jazz since the mid-2000s, locally referred to as WaJazz ("Wa" meaning Japan but also theShōwa emperor period, from 1926 to 1989). Since the beginning of the 2000s, there has been a growing trend to move away from the DJ-focused perspective and to appreciate jazz with a deeper understanding. Nowadays, there is more and more interest in the background and roots in which jazz has developed in Japan, with Japanese jazz as a whole now considered as its own distinctive genre.

Of course, even if we speak about "WaJazz" as one genre, there is a truly wide variety of styles within it. However, when Japanese musicians play, there is something uniquely Japanese flowing through that creates a kind of synergy. It may be the melody, the rhythm, or even something deeper, like an inexpressible flicker. I would be happy if some of its charms and secrets emerge from the fourteen tracks included in this collection." (Yusuke Ogawa)

Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

Malted Milk's 1975 album tackles subjects that concern the band's singer in particular, but also paints a picture of a society with which many people identify. Difficult present times, a broken family and dependent children. The character oscillates between moments of great lucidity and optimism, and moments of anger. Feelings that are reflected in a general vision of the world we live in today, devastated by the abuses of the powerful ones and rendered insensitive to the "false" freedoms they offer us. Could it be that the personal condition of the album's character is also the result of a twisted society?

Malted Milk takes a stylistic journey from strong soul and funk roots to resolutely more modern musical influences, all seasoned with sweet hooks ranging from disco to folk-world. Malted Milk is newly committed to speaking openly about uncomfortable subjects and honestly reflecting its passion for American and pop music. The result is an authentic album, in which the singer becomes kind of a spokesman for the band and the listener.

London producer Kel McKeown celebrates the release of his tenth album as Kelpe, with a vinyl edition of uncategorisable dance music on Kit Records.

Kelpe's work combines live drumming with synthesis and guitars. Like the nine records that came before it, LP10 treads the line between gauzy melancholia and bustling, dancefloor-ready energy.

Listening to Kelpe's music can feel like fluttering through a photo album at speed. Familiar faces and locations are revealed, nostalgic scenes assembled then scattered by unruly rhythms and samples.

Analogue percussion takes centre stage on LP10. This restless drumming - gear-shifting from hip-hop through to jungle - showcases McKeown's chops as an instrumentalist, while harking back to the scrambled beats that were a hallmark of his early releases.

Kelpe has worked closely with the visual artist Nikita Iziev on this record. Inspired by pioneering film director John Schlesinger, the serendipitous geometry of new wave cinema is mapped out in fractured moments across the music and artwork.

While the track 'Schlesinger' echoes the bouncing unpredictability of the sleeve, 'The Palace Guard Loop' pours neon fertiliser over fender rhodes jazz keys. Adrenalin reaches a zenith on 'Events Proved Me Wrong', as Kelpe hits his stride for a homespun drum and bass workout.

LP10 will be the final full length Kelpe album.

The King of Miami's Cuban music scene, the late Ray Fernandez, is featured here fronting his enormously talented family band on an album that first brought him into the spotlight.

Heavily influenced by deep funk and Latin music, their psych-tinged creations also incorporated many other kaleidoscopic sound infusions, including soul, calypso, Afro-Cuban and salsa. Fronted by Ray Fernandez, his band included his very talented wife and two sons and proved to be a highly influential group on Miami's Latin music scene in the late 70's. What also made them stand out was their versatility; this group could easily shift from Cuban funk to Reggae in a blink. Their instrumentation was also different to the 'norm', and where a lot of similar sounds were saxophone-led, this band used a bass clarinet. Instead of bongos, Ray and His Court played with the unique Osi drums from Africa.

Sampled heavily by DJs worldwide (including DJ Shadow) On High presents a must have piece of music for any serious Latin, funk, or rare groove collector. Remastered and pressed on audiophile virgin vinyl for your listening pleasure.

In 2020, L'Osmose began its artistic collaboration by combining 70's psychedelia with catchy rhythms.

Blending auto-tune, electric guitars, percussion, and analog synthesizers, their music is a reflection of their incessant experimentation and their desire to explore new sonic avenues.

After several radio appearances (couleur3, Worldwide FM, Radiovostok), and opening acts for international artists (Chilla, Yin-yin, OBF, old Farka Touré, Arp Frique), the Geneva sextet has built a certain reputation within the Swiss cultural scene.

Spotted by L'Éclair in 2022, the group continues its rise by recording, with their help, a promising first album which they will sign on the Stone Pixels Records label.

While waiting for the release of this project, immerse yourself in the raw, sincere and captivating energy that their performances emit.

This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Trevor Byfield's "Tell Me That You Love Me" is one of the most dread love songs that we've heard, and the flip is one of the most truly psychedelic, heavy and unique Tubby's dubs ever mixed. In fact, the crew liked this rhythm for this song so much that they cut three tunes on it!

This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Clive Matthew's "Live Not For Vanity", a serious warning given thru a heavy tune, backed with a great dub mix.

Pyramid Transmissions are proud to present the 3rd part the amazing J Frank vinyl lp series -Shifting Baseline Cycle

This trilogy started with the killer Spatial Orbit Intersection on PT, followed by Faulty Source Monitor on Irrational Media Society. Shifting Baseline Cycle brings more futuristic Idm/Electro with 6 killer cuts!!!

PYRAMID TRANSMISSIONS transmitting Electro goodness since 2000!!!!!

RAWAX proudly welcomes Alan D. Oldham to the Family. We're happy to present you Signal To Noise Ratio - Detroit is Burning. This gem was ariginally out on Djax Up Beats in 1991!