Search:first

The classiest of deep spiritual soul on 45 for the first time. These tracks were previously unreleased until I found Avelino Pitts when working at jazzman a few years back who has since sadly passed away, but we are working with his wife Deborah to keep his wonderful music alive. Ocean of tears was always here to be a vanity project for my love of deep soul and slowys, so when listening to the LP in my car a few months back I was like WTF, why did i never do these on 45? So here we are, two sides of deep and well-produced soul, Rotary Connection comes to mind but it has its own sound. I have done 500 of these only, no repress. End of nighter, warm-up, radio, one to enjoy on your own with a glass of whisky at 2am.




a A1 You Are So Wonderful clip
b B1 Without You clip

THE JUST BROTHERS were Jimmy and Frank Bryant and are best known for their throw-away instrumental 'Sliced Tomatoes' that first graced the scene at Blackpool Mecca. 'Carlena' is a different beast altogether, a powerful slice of gritty up-tempo soul propelled by various members of Motown's Funk Brothers. A collector's item that was first picked up by Wigan Casino DJ Richard Searling on a visit to Soul Bowl circa 1976-7, a trip that also produced the first copy of The Honey Bees' 'Let's Get Back Together', both on the Garrison label, reputedly part-owned by Mike Terry, and both incredibly rare, approaching a combined $5,000 in today's market!
THE HONEY BEES were an in demand, for-hire, backing vocal group working the New York circuit in the mid-Sixties and can be heard, in fine voice, supporting Jack Montgomery (real name Marvin Jones) on his superb Barracuda 45 'Don't Turn Your Back on Me'. Here they deliver their own, much deserved, recording, co-written by Don Mancha and Wigan's adopted son, the late, great Edwin Starr.

THE ARTISTICS were a Chicago 4-piece harmony group who got their first break singing back-up for Major Lance on his 1963 hit 'Monkey Time'. They were signed to Okeh the same year and had their first hit in '65 with our top-side 'This Heart Of Mine' which reached No.25 in the Billboard R&B Chart. Their follow-up singles all missed and here we feature their farewell to Okeh in '66 'So Much Love In My Heart'. Fortunately the group signed to Brunswick and were back in the charts the same year with 'I'm Gonna Miss You'.

Willie Bobo was a Latin jazz percussionist from New York who recorded over 20 albums between 1963 and 1979. During the 70s jazz funk period he recorded a version of Always There' to rival the Ronnie Laws original as the definitive version becoming a dance floor favourite. The album and extended 12' versions have been reissued many times, now here's a first issue of the more compact 7' version which has become more in demand recently. It is coupled with an extremely popular vocal track Comin' Over Me' featuring singer Errol Knowles. It is the first time this song has been released on 7'. Willie's son is Eric Bobo, a member of Cypress Hill.

Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer, John Congleton (Explosions In The Sky, Swans, Angel Olsen), Enter The Mirror is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on Enter The Mirror, paired to magnificent effect with the increasingly dystopian lyrical themes (which, ironically, were also massive influences on popular music in the 1980s, and feel ever more relevant now). In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. Self-reflection and loss of control as both a positive and negative aspect of modern existence is at the heart of Enter The Mirror. It is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades - and found the will to not just keep moving, but to move with style and chase.

After he hit their sweet spot with a little 3/4 psychedelia on the ‘Kraut Jazz Futurism’ compilation, new Berlin based imprint Kryptox founded by the Gomma & Toy Tonics crew (yes, that new label dedicated to new jazz electronica phenomenas from the uprising German scene) do the sensible thing and tie down nomadic percussionist Niklas Wandt for his first ever solo EP. Anyone with a dancing shoe dipped in the underground will recognize the dungareed Berliner from collaborative outings with Bufi-body popper Wolf Muller, synth shaman Sascha Funke or his NDW dream team Neuzeitliche Bodenbeläge (whose funky bassman Timo Hein helps out here), and now he’s rolling (mostly) solo with four tracks of far out head music. Largely built around improvised drum jams recorded in Wandt’s rehearsal space in Berlin, the sounds on the EP mutated and matured before assuming their final form under the mix

You cannot say Nu Groove without saying Burrell. The seminal New York House label that existed from 1988 until 1992 was at the helm of a sound that was as much traditional as it was transitional. Since the closure of the Paradise Garage in 1987 and before the „NYC House sound“ was well-defined and fenced, Nu Groove was a kaleidoscope and an amalgamation of everything that informed it until then: uptempo r&b, reggae, dub, disco, freestyle, techno, jazz, and the sound that was embossed by Larry Heard in Chicago that was so well picked up in the Big Apple, you name it. Ronald and Rheji Burrell provided its basis, first floor and roof. But that story has already been told by our dear friends from Rush Hour, including its most important chapters. But we are going to tell a new one.

Rheji Burrell presents N.Y. House’N Authority & The Utopia Project. Twelve tracks split over two EPs on Running Back. Named „Out of Body Experience“ and „The ’V’EP“, it features all new music that feels like modern garments cut out of a classic cloth. Almost as if the Nu Groove would have never stopped. And that it is - at the risk of self-praise - all that old or new fans and also we could hope for. Two EPs full of deep-that-doesn’t rhyme-with-sleep house music, has simple, yet clever arrangements, features jazzy sounds, but snappy drums, merry melodies and glossy grooves. An overall joy to listen or dance to. The difference in both EPs is for the Burrell-die-hards and Nu-Groove-scientists to decide.

Our second release this year yet again explores the deep side genres of electronic music and deep house.
The man SMBD aka Simbad has been on our wish list for quite a while now and we are super delighted that It finally worked out to welcome him for a full release on our label after his contribution to the first Dampé Ep we did last year. After a string of releases on labels like Apron, Freerange and BBE there is not much introduction needed for this house veteran.
These five tracks range from soulful house to darker break beat material and ambient soundscapes. Especially the great title track “Purple Winds” is a beautiful emotional piece of music. The closing track “Man Madol” for us is very reminiscent to early Detroit electronic music. “Piano Lick” and “Glory” are packed with soul, funk, disco and basically just good times on the dancefloor while the moody and acid break beat excursion “ – 8 – “ is winding deeper and deeper and deeper …
Not much more needed to be said here, we will let the music speak and let you enjoy these excellent tunes!

Producer/DJ (and Georgia native) Drew Briggs’ roots in the Atlanta's club scene stretch back over a decade. In that time he’s also notched releases for a number of internationally-recognized labels including CGI, Harsh Riddims, and Two Circles while receiving nods from Resident Advisor and XLR8R. Briggs’ second release as Divine Interface (and first on 2MR) plunges the listener directly into his nightly routine in Atlanta - from club to afterparty to cab ride home.

THE FISRT AUDIOTRIX ALBUM !!!!

10 Tracks by Ixindamix in multiple styles featuring Sim Simmer on The ones that left, Scallywag on Boom Boom Boom and Wotcha Braincells and Roberta Carrieri on Yodelix.
2 X 180G Vinyl in a beautifully designed full-colour picture sleeve with free download code inside.

What Ixindamix says !

"I’m extremely proud to present my new album “The Underground Tree” the first for over 10 years is out on 23rd May !

The title comes from a line in “Reserve the Right” – “We are family, I’ve got my possee and me, we’re fruit from the underground tree” the last track on the album, a rambling rap covering many subjects from climate change to data collection all written under the influence of a heavy hangover, where I foolishly decided it would be a good idea to get back on the mic. You can read more about that here …..

Also featuring on the album are Sim Simmer, Scallywag and Roberta Carrieri on vocals. From Bass House to Drum & Bass with a twist of Acid, Breakbeat, Ghetto, Garage and Swing, these 10 tracks are to be released on a double vinyl album available at the end of May. You can hear the megamix below.

Family is one of the most important things to us, whether it be blood or our larger sound system families, tribes or crews. They are the people that mean the most to us and make our everyday lives the best they can be. This album is dedicated to them all friends and fans the world over xxxx.

Following up on the waves made by his latest Diaphragm EP, Cri Du Coeur injects his signature high-octane sound into another techno venture. This one comes in the form of the electrifying 4-track EP Warning on the Belgian producer’s fledgling-but- headstrong label Arkham Audio. Featuring three remixes interweaving threatening cosmic soundscapes with pounding industrial beats, this latest EP pulls no punches in delivering a menacing wall of sound. The A-side opens with Cri’s original mix for Warning, showing off his signature style of making jumpy, liquid 303 basslines bounce around a consistent dark pad sound. The combination emanates a lingering sense of dread intensified by warped delayed vocal samples and high-voltage buzzing underpinning the whole experience. Following up is a remix from American producer Dustin Zahn, who delivers a pulsa- ting battleground of modular noise. The essence of the track is the controlled chaos of the abstract mechanical whirring and wailing born from Zahn’s extensive synthesis experience, having worked as a remixer for Adam Beyer, Chris Liebing, Dubfire and many other high-profile acts. UK producer Mark Broom dedicates two remixes for the B-side of the EP. The first is a dark, atmospheric groove with expert attention to detail paid to the percussive effects and the controlled movement of the synth parts, creating a powerful ebb and flow of soundscapes and textures and a set of unique builds and drops. Closing off the EP, Mark Broom’s second track is a track more faithful to Cri’s original, opting to beef up the kick and switch up the pattern for an original clap intonation and, naturally, Broom’s own signature offer of complex intertwined synth effects. The result is an anthemic warehouse filler that feels saturated with organic layers of electronic foliage.

Label and event series Courtoisy releases its first EP. Headed and run by the very talented Cynthia Spiering, this label focuses mostly on unknown producers capable of writing quality tracks.

COURTOISY01 is produced by 4 different artists; Vlackon, SWART, CYNKT and Cynthia Spiering herself. All tracks are handled with intense care and confidence. This first EP showcases the extreme diligence Cynthia handpicks the tracks with. This vision is a guarantee for succes in the future of her event series, but most of all, her imprint.

Emerging from the epic Scottish house and techno scene of the 90s, George Thomson started his musical adventures as a promoter, bringing to Scotland DJs from Chicago, New York, Toronto, Paris and London to play at the legendary Tribal Funktion parties in Edinburgh.

Aside from co-founding Edinburgh's Underground Solushn record shop, he also started producing his own blend of techno and house in the mid-nineties. This led to a string of releases with seminal labels such as NRK, Stickman, 2020 vision, Crosstown Rebels, Tirk and more recently Greco-Roman and Output Recordings. His various monikers from then and now include Plastic Avengers, George Demure and more recently the George part of of Jeanga and George.

After a move to London in 2000 his George T moniker began a long hiatus. Nothing was heard until Joe Goddard released an EP of rediscovered hidden gems on Greco-Roman in 2017. This awoke the fire within and he’s back today with the first new George T material in 19 years.

The Midway EP was recorded in North London over a period of 2 years, using only analog gear and embracing memory, movement and the moment. These four tracks are a love letter to club life, both then and now. This love is best demonstrated with the four accompanying short films using either nightclub footage from 1996, slow motion lido footage or Bauhaus triadic ballet inspired time lapse choreography.

This classic funky blaxploitation soundtrack rarity is one of the toughest soundtracks to come from the early '70s' Black action cinema movement.

Produced by the legendary Johnny Pate a master of Funky score.

Dynamite Cuts unleashes 4 gems culled from the original album, and now for the first Time on the 45-vinyl format.

Club classic "You Can't Even Walk In The Park", “Shaft in Africa “, “Truck stop” and El Jardia.

This is one of the most blistering jazz funk soundtrack cuts around.! A frenzy of horn stabs, with percussion and wah wah guitar

...all topped off with everlasting classic drum breaks!

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration. Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike. Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz. Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame. Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful
collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques. This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

Known for his grainy, analogue dance floor hits, Hungarian artist Norwell has returned with a powerful and transcendent 4-track EP, releasing through Fanzine Records. "In Between" EP is a drum-heavy, intricate series of grooves and soundscapes that draw the listener in from the beginning. While remaining faithful to the tendencies of techno, this record brings something of its own to the table in the form of acidic basslines and retro Kosmiche synth parts, resulting in a stunning array of textures.

"Eastern Echoes" is the opening track on this EP, and it deserves that spot. Combining an intense, Aphex-esque drum beat with hazy, dreamlike Middle Eastern inspired vox and pads, this track is a pumped-up monster of an introduction to the EP. This is immediately followed up with "Evaporate Yourself", a dark and brooding beat with a serpentine bassline that creeps its way through the track and combines with the lush, ethereal ebb and flow of the detuned synths and horror-themed vocals. This track is as cosmic as it is industrial, and sits on the fence between the two in a very unique way. "Model 244" on the other hand utilises a much more 70's modular sound reminiscent of early Kraftwerk hits adapted to the modern age. The track builds layers upon layers of left-field percussion that dance around the central arpeggiated bass in a very pleasing way, and Norwell doesn't leave out his signature glitchy, mechanical soundscapes, which give the track its glorious tension and release. The EP is rounded off with "Repetition Void", potentially the most experimental of the four tracks. Flanged hi-hats dance around the listeners ears and hazy analogue keys induce a hypnotic trance, exacerbated by the almost Papal choir vocals that fit seamlessly into the background.

As Norwell's first release through the Fanzine Label, this EP is dark, it is foreboding, and with the unexpected turns the rhythm takes, it doesn't care about your feelings. If you're ready to be punched in the face by this sci-fi horror listening experience, watch for the release of this EP, Fanzine latest addition to their roster of tasty electronic jams.

Noor1 is a duo consisting of Zevla and ANFS, which made its debut appearance on the first Vanila compilation from 2019, "ear". Their return here is in the form of an album, hosted by the LP series of Athens' Modal Analysis (MALP02). A.Psi.Mi includes 4 long recordings of Zevla's and ANFS impressions of industrial/noise soundscapes meeting the aesthetics of ambient/experimental.

2xLP: Wide Spine, pressed on Gold Nugget vinyl with spot gloss printing on cover

About:
Free Nationals are best known as Anderson Paak's live band, until now. Band members Kelsey Gonzalez (Bass), Ron "Tnava" Avant (Keyboard/ Vocoder), Callum Connor (Drums) and José Rios (Guitar) have graced the stage at Coachella, opened for performers such as Beyoncé and completed World Tours alongside J.Cole, Bruno Mars - the list continues. Paying homage to the musical legends that paved the way before them; Free Nationals means The first people of America, Indigenous to the land before Columbus came. Staying Indigenous to the funk, Free Nationals pay tribute to inspirations such as Stevie Wonder, B.B. King, Herbie Hancock and Al Green by incorporating musicianship while pioneering musical euphoria for a new generation.

Rising Manchester star FINN takes the helm for the next release on Ruf Kutz with two hyper-real contemporary raw bangers crafted for maximum emotional impact backed with remixes from RK big guns RUF DUG & GLOWING PALMS.

Even though he's a comparative youngun, this is by no means Finn's first time at the rodeo - he's a label boss, an NTS pioneer, a Boiler Room veteran, a Defected Records Old Boy and also holds down the coldest twitter account on the information superhighway. It's a big deal to us that we managed to snare him for a release on his ascent to whatever accelerated dimension he is headed for.

Purposely conceived as raw club tracks after a heavy Paul Johnson listening session, TRICK TRICK and BELLE THEME contain many of his beloved hallmarks while also showcasing new creative pathways - the title of the EP surely alluding to what Finn is about to pull from up his sleeve...

Opener TRICK TRICK is many things all at once - a raw turbo-jacker, a hugely emotive bassline roller, a super-fresh club banger that has few elements, yet uses them with such efficiency it's impossible not to be drawn up into its vapour trail.

BELLE THEME winds the pace & harmonic tension up with manic abandon as we find ourselves in Finn's familiar 130-plus territory but while the tempo is slamming he somehow manages to drape everything in a lacy coating, as if we were playing a bonus level from a lost Studio Ghibli PS1 beat-em-up.
Back in the real world we flip the record for 2 textbook Ruf Kutz remixes. First up label boss RUF DUG guts Trick Trick and serves up the fillet on an unashamedly tech-house bed, purpose-built for DC10 circa 2009 - meanwhile Ruffy's partner in crime GLOWING PALMS dips into his secret stash of double doves and takes Belle Theme for an unforgettable night out in a Burnley warehouse.

Of the release Ruf Dug says "It's been a big thrill to follow Finn"s development over the years since we first met. I've been hoping to collaborate with him for quite a while so for it to be finally happening especially at this stage in his career is a genuine mega buzz!"
Finn says: "Been a keen Ruf Kutz fan since Rachel's Team in 2016! So happy to contribute to the label with two rough (ruf) and ready club tracks - late night/early morning hymns"

Four peak time, dancefloor remixes of tracks housed on SIRS outstanding debut LP ‘Banana Hard & Disco Kisses’ from the likes of Austin Ato, Yam Who?, Danilo Braca and SIRS himself.

First up on remix duties, Scottish goldenboy Austin Ato takes the sunset funk stylings of ‘Nightwind’ and flips it into a club ready house bumper, fitting perfectly with Hava Izmailova’s dreamy vocals. Rework don and Midnight Riot head honcho Yam Who?, then gives the Stee Downes vocal number ‘Forever’ a first pumping disco makeover that’s got future anthem written all over it.

On the flip side SIRS offers up a new tribal interpretation of ‘Turkish Disco Folk’, doubling down on the Middle Eastern influences yet with a tougher rhythmic side that will spice up any set its slipped into. Finally, NYC-based Danilo Braca inserts an acid injection into ‘If I Can´t Have You’ alongside a dose of sultry strings, ready made to warp any dancefloors out there.

When people talk about Italian dance music, they tend to focus on Rome and Napoli rather than Bologna. Yet the city in Northern Italy not only played a key role in the development of “Italo-house” in the late 1980s and early ‘90s, but also boasts a vibrant contemporary scene. To prove the point, Boogie Café has put together “Bologna On The Move”, a four-track selection of sizzling hot cuts from some of the city’s latest wave of deep and soulful dance music talents.

Leading the charge is Sam Ruffillo, a producer who first appeared on Boogie Café last year following an impressive 2018 debut on Irma Dance floor. He kicks off proceedings with the infectious “U Make Me Sing”, a heavyweight slab of rolling breakbeat goodness rich in tight vocal samples, jazzy guitar licks and wonderfully warm and weighty bass.

Later in the EP Ruffilo returns to action alongside Brine, another rising star with links to legendary Italian label Irma. “Request Line” is a fine slab of chunky, U.S garage-influenced deep house that sees the duo pepper swinging drums and toasty bass with heady organ stabs, cut-up vocal samples and trippy electronics.

Fittingly, Brine gets a chance to showcase his skills as a solo producer via “Star Chaser”, a looser and jazzier house excursion that doffs a cap to the glory years of jazz-funk whilst championing rich deep house synth riffs, jaunty bass and more spaced-out vocal snippets.

You’ll hear a similar jazz-funk influence at the heart of the EP’s only contribution from Red Rooster founder and former House of Disco artist D’Arabia. The most experienced of the three artists on show, he offers up “Straight Outta Fire”, a bouncy, deep and percussive affair that wraps drowsy male vocals, sustained chords and harmonica samples around disco-influenced house beats and what may well be the squelchiest bassline ever to emerge from Bologna.


DJ Support:

Bedmo Disco, Lord leopard, Melon Bomb, Dave Harvey, Haze City, Aroop Roy, Lay Far , Danvers, Kassian, Dave Jarvis,
Jimmy The Twin & Cengiz.

2x12"

since long, chilean/swiss producer and dj luciano is a prominent figure in the global electron-ic club music circle. already from a young age on he was exposed to music profoundly, as his father worked as a jukebox repairman and possessed a large record collection.

when he was twelve, his mother gifted him a guitar, that turned luciano shortly into a mem-ber of a school punk rock band. soon after, his passion for electronic music rose. infected by detroit techno and engaged by close friends like producer dandy jack, he started to play rec-ords in local santiago de chile dance clubs and became involved in the minimal techno scene around friends like ricardo villalobos.

when luciano moved back from chile to switzerland in 2000, he established a residency at weetamix club in geneva, started releasing his own productions on labels like mental groove and joining the cocoon team in ibiza to play at the famous monday night at club amnesia.

since then he is a regular on the balearic island, holding residencies at clubs like dc10 or, with his “vagabundos” serial, at ushuaïa. besides playing around the globe with the likes of carl craig, richie hawtin or loco dice, he is releasing groundbreaking minimal techno and house on his label cadenza since 2003, featuring music by artists like nsi, ricardo villalobos, pikaya, reboot, maayan nidam and himself.

his very own music, so far issued on three albums and countless eps, was always ambiguous. there is his club leaning creativity that can dance slightly into pop spheres while never for-getting the power of precise sliced rhythms and subtle bass sensations.

and then there is a calmer luciano, that displays his love for “music to listen at home, done for a spiritual travel, an inner universe and a moment paralyzed in ether”, as he describes it.

on his first ever mule musiq album release “luci neu house”, luciano now delivers meditative journey music full of repetitive patterns that slowly playing tricks on the listeners subcon-sciousness. “i love music that has a dimension more than music designed for the radio or tv format. mu-sic, that is designed to bring you a higher level of energy and creativity.

so, there is no pretentious things in it ... more just sounds and dimension that will lead your head into the fall of jupiter” he reveals about the one-hour long composition “luci neu house”, whose esoteric deepness reminds on the intensely meditative class of his older pro-ductions like “behind my soul” from 2010.

an epic tune cut on vinyl into four 15-minute long pieces, who shift slowly, almost unper-ceived, whilst absorbing the mind of close observers into a micro-sliced world of moving gen-tleness.

maelstrom magnetism against the gravity of time, that also can be found on the additional mule musiq 257 12inch, which functions as a soothing footnote to luciano’s album.

the almost 13 minutes long trip “flags of himalaya” opens with restful percussions that unhur-riedly start to dance with soft string, piano and horn melodies. on the opposite, the nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

a perfect tune for slow dance sensations and endless sunset seaside drives. at a total length of almost 90 minutes, all new mule musiq music composed by luciano distributes a mesmer-izing healing spirit, that grounds organically, even if it is totally rooted in the digital, soft-ware driven world of composing music. “check your buddha” tunes, that somehow sound novel during each new listening circle.

As we travel further along the murky 2020 time-continuum we are pleased to deliver the next release for Pure Space Recordings. This time from one of Melbourne’s most acclaimed producers, Rings Around Saturn.

Rings Around Saturn delivers us with two club focussed tracks that skilfully toe the line between electro and bass music.

On the A-sde you will find ‘Grip’, a heavy hitter that’s weight comes from the deep sub-rhythms and hefty drum programming. The melodic, acid-infused arpeggios that fill the tracks body seemingly pull you further and further off the ground until finally the suspension is released through a glistening breakdown.

On the flip you will find ‘Subterranean Electro’, a track titled aptly to describe its heady electroism. Here deep bass is met with skittering pads, and tension fuelled melodies whilst a constant rhythm that feeds the tracks subterranean ecosystem. The gritty melody is fast and jittery keeping you on your toes whilst you complete your journey.

A1 was first played at Inner Varnika Festival 2019. B1 was included in Andy Garvey’s RA Podcast.

To celebrate 40 years since the release of their first ever recording, Soft Cell are set to re-issue their seminal debut EP Mutant Moments.

Originally released as limited run of 2000 7” EPs in October 1980 on the band’s own Big Frock imprint, the release sold out immediately. Apartfrom various unofficial bootlegs, this much-revered and influential slice of electronica has been unavailable on vinyl for nearly four decades.

Soft Cell, aka Marc Almond and Dave Ball, went on to release their debut single proper, Memorabilia, cited as one of the most influential club records ever. This was followed by the multimillion-selling single Tainted Love, which topped the charts in 17 countries worldwide in 1981. The band have released four critically-acclaimed albums, including the genre-defining Non-Stop Erotic Cabaret. After a 17-year hiatus, Soft Cell returned in 2018 for a sold out show at London’s O2 Arena, and are currently working on new material.

This new edition of Mutant Moments is pressed on deluxe 10” clear vinyl to upgrade the sound quality from the original 7”. In addition, the four tracks have been remastered especially for vinyl using the most cutting-edge digital technology available.

Soft Cell’s Dave Ball has personally supervised the remastering process, and comments: ‘A vintage slice of lo-fi Polytechnic synthpop, lovingly remastered for you’.

It's auspicious that Sonic Boom-the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)-returns in 2020 with its first new LP in three decades. Kember's drawn to the year's numerological potency, and this intentionality shines into every corner of All Things Being Equal. It's a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness-everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. Sonic Boom's second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab's Tim Gane encouraged Kember to release them instrumentally. "I nearly did," confesses Kember, "but the vibe in them was so strong that I couldn't resist trying to ice the cake." Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits "don't go far from the turntable pile"), as well as speculative, ominous spoken word segments. His new home Sintra's parks and gardens provided a different visual context for Kember's thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. "Music made in sterility sounds sterile," he says, "And that is my idea of hell."

Legendary Detroit Techno collective, Scan 7's 'Burdens Down' release from 2017 was a true testament to their brilliant ability to merge the soulful house textures with the analogue mechanics. The addition of Maurice Jackson's outstanding vocal stylings topped off the original with a perfect human element. Following the global success of the original version, Elypsia Records has enlisted some of the scene's top tastemakers to deliver a remix package worthy of the original, featuring that same calculated combination of soul and steel.

Leaders of the Parisian underground, DJ Deep & Roman Poncet, provide the first remix which is all about building incredible tension. A tightly squeezed kick drum, short synth chops and cleverly placed vocal samples drive the groove. As the track grows, additional hats and synths arrive, leading up to a quick break before all the floor-rocking energy bursts free. Big!

Dutch Techno legend Orlando Voorn steps up next for his first of two remixes, this one leaning towards a very House-centric shuffle with warm, friendly key stabs and the full use of Maurice's vocals. A truly joyful work of dance music magic here, with a relentless rhythmic drive keeping the party happening at full force.

Underground Resistance's very own Mark Flash takes the remix responsibilities for the B1 with his gorgeous synth-saturated rework of the original. An energetic and stomping kick drum powers perfectly alongside future-facing melodies which shine brightly on top of the tune. This one is guaranteed to serve as an earworm for days after the party has ended.

Rounding out the EP is the 2nd remix from Orlando Voorn, this time peering into the underground with a stripped back jackin' track utilizing a looped key melody on top of carefully placed vocal samples and claps. Some unexpected synths appear at the second half of the tune, putting a bit of new-age funk into the party stomper.

After dropping his first solo release at the end of 2019, Naranja is back with his second EP. And this time, he embraces even more the italo-disco and EBM influences that were showing through his first project. The a-side features some dark and kicked italo-disco riffs, acid basslines and deep layered synths melodies, where the b-side explores broader sounds, from rave inspired synths to unrestrained braindance beats. In this second effort, Naranja offers to dive in a musical journey, drifting between melancholic synths, 80s inspired basslines, deep pads and energetic drum beats.

WRWTFWW Records is excited to announce the official reissue of Motohiko Hamase’s remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano. One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by Jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process’ Wave Notation 3). Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase’s quest for musical freedom, he explains: “Inside the body of a musician, music is always transcendentally resonating. More than language, music reigns. When creating music overlaps with the moment my body performs, I strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at the foundation of this album". Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, and Yutaka Hiros’s Nova. #Notes of Forestry is reissued in conjunction with Motohiko Hamase’s Technodrome and Anecdote albums,

WRWTFWW Records is very happy to announce the official reissue of Motohiko Hamase’s astounding ambient house album Technodrome (1993). The album is sourced from original masters and available on vinyl for the first time ever as well as on CD. It comes with liner notes from the artist. This marks the fourth release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano. Inspired by John Cage, Jon Hassel, Brian Eno, and the emergence of house and techno music, Technodrome is jazz bassist turned electronic experimentalist Motohiko Hamase’s foray into what he calls ambient house or, as he explains, “using the gritty sensation inherent to the core of house music” to create an ambient record “aiming to express inverted images, optical illusions, and the sense of déjà vu that modern people can get in the city". Technodrome is constructed around innovative minimalism, a robotic funk orchestrated by bass lines and percussions, and monochrome moods. It’s the most intriguing project in Hamase’s discography, a ghostly ride set in 90s urban landscape, where repetition sets the groove and brings things to life, echoing Hamase’s deeper subtext for his compositions: “and attempt to recreate (as metaphor) the time in our mother’s womb". The album was initially released in 1993 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. It is now reissued in conjunction with Motohiko Hamase’s #Notes of Forestry and Anecdote albums.

This Spring, Life And Death hits a half century of releases with a suitably standout album from leftfield innovator Autarkic. Terms and Conditions is a 10 track window into the Tel Aviv artist's rich, wildly-infused electronica.

Critical acclaim has followed Nadav Spiegel's every move since he debuted in 2015. He is impossibly hard to pin down, and brings real songwriting ability to club tracks that colour far outside the usual lines. Weird dub, psychedelic rock, all forms of wave, sideways pop, swampy techno, Middle Eastern subtleties and plenty experimental in-between sounds all inform his work. It defies convention in ways many cannot, and has come on labels like Disco Halal and Turbo, as well as Life And Death with the Heavy Dreamer EP in 2018.

2016 and 2017 brought his first two albums, Can You Pass The Knife? and I Love You, So Go Away, both on Disco Halal. Both were full of intensely emotional wave, synth and lo-fi sounds that fizzed with innovation. Says the artist of its follow up, "Terms and Conditions was created to celebrate the moment in time that is now. The moment we became peasants in a new digital-feudal world, happily giving away our privacy for the privilege of owning a smart phone."

Terms and Conditions is a unique melting pot, a reimagining of familiar sounds in unfamiliar ways, and is another standalone record from Autarkic.

Melodize builds on a fine first release with a new one from Beartrax that comes with big remixes from Clarian and Lauer. Having worked with labels such as Lost Diaries and Motek and seeing numerous releases appear in the Beatport charts, American artist Beartrax is a man in form right now.

Ethereal is a slick melodic house cut with far sighted chords and rolling drums. It's about getting lost in the majesty of the musical colour and allowing the emotions to wash over you. Clarian then remixes after many years making a name for his synth heavy sounds thanks to releases on the likes of Kompakt and Anjunadeep and here comes correct once more. His offering is deep and melodic, with a slick cosmic lead over shuffling, icy beats taking you away.

Lauer then closes out with a more edgy remix that has big synth chords riding up and down the scale and plenty of retro feels to the beats.

Dead Or Alive have sold more than 30 million albums and 25 million singles worldwide and gave Stock Aitken Waterman their first #1
single. Their first three albums, which the band wrote, all reached the UK Top 30, with ‘Youthquake’ reaching the Top 10. In the 1980s, they charted seven unique singles in the UK Top 40, with two further re-entries this century, with a remix and original version of ‘You Spin Me Round (Like A Record)’. Respected US magazine Billboard, ranked them in their all-time Top 100 most successful ‘dance artists’ chart.
‘Fan The Flame (Part 1)’ is their fifth studio album and was only released in Japan in 1990, where it reached #27, until a re-worked
version was included within the ‘Sophisticated Boom Box MMXVI’ box set in 2016. ‘Fan The Flame (Part 1)’ contains the singles ‘Your Sweetness (Is Your Weakness)’ (Japan #3), ‘Unhappy Birthday’ (Japan #14) and ‘Gone 2 Long’ (Japan #18). Renowned and in-demand singer, Tracy Ackerman performed all backing vocal duties, with Londonbeat and the London Community Gospel Choir appearing on ‘Total Stranger’ and ‘Unhappy Birthday’, respectively. Also featured is Billy Currie, better known for his work with Ultravox, Visage and Gary Numan. This special 30th Anniversary Edition of ‘Fan The Flame (Part 1)’, is the first time that the album has been commercially released on
vinyl in its original configuration, with original playing durations and will be pressed on 180g heavyweight white colour vinyl.

New imprint Jason, Jared & Brians’ Records delivers it's first offering with a release from Jared Wilson.

This record is dedicated to and influenced by Roland, Dinsync, Social Entropy Engine, and the Pacific Northwest. The three-tracks found on this EP are some of the first to come out of Jared’s new studio in Seattle. Refining and recommitting to a sound that reaches into the past and future with hints of acid, house, and techno while at the same time not being confined by any theme or style.

Our next release on Visions Recordings, is a Swiss Duo of extremely talented musicians producing as KEYS of LYNX and we are happy to release their first ever record on Visions. These two future boogie jazz funk tracks were sent by KOL a few months back and straight away we fell in love with the freshness and the grooves. Influenced by jazz, funk, boogie and soul from the past and the broken beat sounds ok Kaidi Tatham and the likes, KEYS OF LYNX deliver here some well needed grooves for the Soulful music lovers. On the remix duties its an in-house version “Visions Remix” by label partners Alex & Stephane Attias, taking us on an 8 minutes dancefloor journey.

At Visions we like various styles of music’s, soulful and deep. Another great release for us in 2020.

2x12"

It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

Since launching a decade ago, the label has increasingly focused
it's attention away from generic club sounds and last year's releases include Sigha's IDM-tinged alias Faugust, as well as left-of-centre
EP's from Portrait and AVL.

Joining them for the label's first release of 2020 is innovative Japanese producer 'Masaki Uchida' who displays his prowess as a sound designer and multi-instrumentalist across six tracks. Uchida rips apart a variety of contemporary and classic electronic styles, reassembling them into a uniquely beautiful new whole.

Often walking the line between extremes, the release features both moments of chaos and times of complete silence, exemplary of not only Uchida's bold approach to the song writing process but also
his unquestionable talent as a sound designer and engineer.

"ATA Records" is pleased to announce the release of Early Works: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks that were recorded at the very outset of the label and haven't been available since the initial limited run (Released as Funk, Soul & Afro Rarities: An Introduction To ATA Records on Here and Now Recordings) sold out 5 years ago.

Since 2013 label founders and musicians Neil Innes & Pete Williams have been tirelessly fulfilling their shared dream of making the records they weren't hearing. Having spent years working in various bands both players felt the desire to break free of the constraints of working within another band and started on the slow path to creative autonomy by starting to work on the 12 tracks presented on this compilation.While deliberating their next steps they were approached by Here & Now records who licensed the 12 tracks and released them under the titleFunk, Soul & Afro Rarities: An Introduction To ATA Recordsin 2014 as a limited run of 300 copies that sold out within weeks of release.

Now in 2020, celebrating their 5th year of running successfully as a label in their own right, ATA are re-releasing these 12 tracks on a new vinyl pressing under the titleEarly Works: Funk, Soul & Afro Rarities From The Archivewith new artwork and liner notes that detail the labels birth.

The compilation features 12 tracks that include the very first 3 tracks from The Sorcerers that led to their self-titled debut LP & the first proper release on ATA, as well as the first recordings by The Mandatory Eight and The Yorkshire Film and Television Orchestra.

If Galaxy Lane’s first EP didn’t send the portals of time and space upside down, then the second EP will throw you down a vortex of hypnotic grooves juxtaposed with eerily erratic rhythms built in outer space.
The first of two EP’s to be trusted in the hands of Lone Romantic, ‘Night’ and ‘Later That Night’ will explore the concept of capturing moments in time.
Maybe Galaxy Lane can best summarise…

“I want people to really feel the mistakes in this music, the dirt, the rough and raw approach, the ‘sitting on the floor surrounded by wires at 3am messing with synths’ approach. That to me is the magic of this music, the interaction of man and machine, to hear the nuances, the tweaking of knobs and pushes of faders. I think we have lost that somewhat with digital technology, and have lost a lot of feeling in the process”

‘Night’ will propel the listener into ethereal textures layered over rough and raw beats, as outlined on opening track ‘Deep Space Nine’. If that sets you up for thinking this will be a dreamy ride, ‘Communication’ hits hard at the rear of the spaceship, coming at you with intergalactic bleeps, zaps and back cracking rhythms made for getting down.

Side 2 sets off on an exploration of wild eyed boundary flexing in the shape of ‘Enter The Light’. Pushing the machines to near breaking point whilst just hanging on, it’s a track that shows what can be done when the spaceship is left to drive itself, you can do nothing more than go with it and and see what happens.
‘Snow Day’ is perhaps the perfect way to round us back in. A more calmer, smoother ride, it’s unmistakable polyrhythms soothing the soul and setting us up for the next chapter…