Suche:flip da scrip

Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.

On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

2025 Repress

From the opening bars of this debut album you instantly just know it's going to deliver the tunes, and it doesn't let up until the last note. The Allergies' modus operandi is taking vintage sounds and reshaping them for modern dance floors, and they go about it with style.

Effortlessly fusing Funk, Soul, Disco, Hip-Hop and Breaks, DJ Moneyshot and Rackabeat provide the perfect brand of feel-good, energetic ear candy that will leave a smile on your face and give you happy feet. But that's not all..., they have teamed up with some top MC's in HypeMan Sage and BluRum13, as well Andy Cooper of Long Beach's world-renowned rap group, Ugly Duckling.

Bread&Butter Records celebrates its 10th EP with a powerful statement from Romanian duo NTFO, a name synonymous with precision minimalism and timeless groove. The release unfolds across four masterfully produced tracks, each one engineered for those moments when the dancefloor turns into something deeper, heavier, and unforgettable.

Calibre sets the tone in classic NTFO fashion. Its stripped-bacb bassline rolls with hypnotic intent, carrying just enough weight to lock the floor in. By the three-minute mark, subtle shifts into a trance-like state, gently elevating the room into waves of euphoric release. It’s understated yet devastatingly effective, the type of cut that DJs treasure for its power to transform the atmosphere without ever shouting too loud.

Electr pares things back even further, pushing into pure minimal territory. Built on a sleek harmonic groove, it’s a masterclass in restraint, every sound feels perfectly placed, every movement precise. This is a track that thrives in the early hours, where tension, patience and subtle shifts in rhythm rule the floor.

Forap flips the script, injecting an upbeat energy that hits with instant impact. Around the three-to-four minute mark, a vocal element cuts through, commanding attention before the groove locks back in with unstoppable momentum. Hypnotic yet uplifting, it’s the perfect peak-time tool a track that lifts the room into a collective high, as though flying on pure feeling.

Nanomos closes the EP with finesse. A deeper, darker exploration, it glides through murky textures and intricate percussive details, carrying an otherworldly atmosphere that keeps the listener suspended in motion. It’s a slow-burner that lingers long after the last note fades, a testament to NTFO’s ability to balance groove and emotion in equal measure.

With this release, Bread&Butter not only cements its reputation as one of London’s most exciting underground imprints but also showcases NTFO at their most refined. Four cuts, four moods, all bound by that unmistakable Romanian touch that continues to set standards worldwide.

DJ Support: Axel Boman, Coyote, Rune Lindbaek, Dr Rob (Ban Ban Ton Ton), Lefto, Johan Blende, Feel Fly, Marco Gallerani and many more

Secret Soul Society, aka South Wales's Cal Gibson, continues his red-hot streak of form with four original jams for Hell Yeah that effortlessly weave decades of influences into intimate, unusual sounds that go from Balearic daydreams to after-hours soul burners.

Gibson was one-half of Nottingham's deep house and downtempo outfit Neon Heights back in the 2000s, a collective that label head Marco has long admired. He has landed here before with the superb Keep The Mystique in 2023, a 15-track collection of brand new curveball cuts built from lovingly sourced samples. Since then, he has continued to collide jazz, funk, Afro, beats, dub, soul and reggae on Paper Wave and Magic Wand.

'To Be Happy' opens with gentle, sun-soaked grooves, swirling keys and dreamy pads that evoke a hazy Mediterranean sunset. Nostalgic soul samples tug at the heart while the track’s laid-back vibe is perfect for golden-hour moments. 'Orange Surprise' is a magical slice of downtempo bliss with hints of romantic vocals. It's built on soft broken rhythms and drifts between ambient soul and laid-back electronica, perfect for introspective moments or late-night winding down.

'Keep On Trying' flips the script with more texture. The synths are crystalline, the pads are sugary, and the meandering bassline unfolds in wonky fashion while soft male vocals bring a steamy edge. Last but not least, 'What You Do To Me' is funky and slow motion disco with 80s synths and reverb that drowns you in good vibes.

This EP is Secret Soul Society at his most expressive and emotive.

Sticking a dirty thumb in the eye of fate, our third collaboration sees this marrow deep family malarky turn official as Pace Yourself teams up with YS’s own imprint ERF REC for a split release. As if our status as minor celebrities and footnotes of the underground could level off no further: the unification no one asked for is here. Sticking it to the man, handing your arse to ya on plate; cauterising infected suburban minds world over.

Burn is the second YS album and written as a direct follow-up album to Brutal Flowers. If their first album was an exercise in the incremental, a construction of poise and patience, Burn, should be taken way the fuck at it’s word: it quite literally finds catharsis in twisted reverse. Birthed out the malignant kick found in deconstruction and chaos. Evil twin, psychotic younger sibling, call it what the hell you like. It might take you a moment to get the lay of the land in this darkly mutated world. Like a bug eye’d native first confronted with a zippo, the hit is radical and instant: a new way for the world to go up in smoke.

Splice the Seattle slacker scene with the spliffhead soundsystem culture of the 90s Bristol trip-hop scene, then cross-breed that with the DIY optimism and glee in creation found in the cut-and-paste worlds of skate, graffiti and hiphop, now run that through the skitzo basement mind of John.T. Gast and you’re close to the kind of scorched earth and spiked suburbia that birthed Burn.

Dunno quite what YS have been ingesting of late but this massively twisted LP touches on a host of gloriously fucked totemic underground sources while not sounding much like any of them. It has the ballsy swagger and hard flipping of the script as Massive Attack’s seminal Blue Lines. Indeed, the eponymous album tracks sound similar - the opener ‘Burn’ is like a hard nosed jammed out redux of ‘Blue Lines’. Getting into a kind of slow-spinning overdubbed maximal euphoria ending with mumbled downer vocals, struggling to conceal their tongues in their cheeks there’s an air of paranoia and proto-conspiracy theory. It’ll leave you scratching your head, feeling like you’ve stepped into a New World Order governed by a cacophony of drop outs, dope fiends and apocalyptic stoners. A cracked out world somewhere between Richard Linklater’s movie Slacker (1990) and Marc Singer’s Dark Days (2001).

The rest of the album parts like a tongue on a wine glass: Smith and Mighty, Bandulu, ambient Luke Slater records, Wah Wah Wino, Nurse with Wound, Land of the Loops, Placid Angels, Adrian Sherwood, Urban Tribe and DJ Shadow can all be heard in momentary splatters - but Burn like other works by YS, is its own ritual beast. ‘Moth’, a track which has been knocking about the underground deejai circuit for many moons, is a real raw chopped and screwed slice of stoner erotica that reeks of obsession and unrequited desire. Elsewhere, on tracks like ‘Switch’, ‘Trying’ and ‘Drift’ the throughline from Brutal Flowers can be heard. Underneath the driving heavy gravity the trademark emotional intimacies of YS linger: eternal recurrence, ghosts of static and shortwave, worn memories of the playful and painful sort. The brief moments where flashes of orchestral ambience get out from underneath the swagger are so pure, personal and unguarded that for a moment they leave you completely lonesome. In the album’s closer ‘End’, you can hear the fleeting promise and DIY possibilities of an analogue world and embers of ash that flutter in its wake: where it seemed, for a brief moment, that collective of DJs, engineers, rappers, graffiti artists and skate crews were emerging from the streets, giving the middle fingers to the system, before just as quickly disappearing back to the doldrums of obscurity. ‘End’ is a bittersweet ode to early soundsystem culture, MCs and pirate radio - an out of step time where for a moment the underdogs and weirdos seemed to be kicking on the door of something bigger.

A veritable teenage doof suite dosed with desire, claustrophobia and deviance. Burn is a good old howl at the moon: lonely, raw, and out for blood; basement style exegesis at its best. A thump to the gut, a stud through your blood. A dubbed-to-death classic straight out of the annals of nowhere. A perfect post card from oblivion. A bleak, bold and personally ferocious vision of tomorrow and tomorrow and tomorrow.

This is everything that record collectors skip dates for. Fuck the scene and keep that shit underground. That’s what it is all about. Know what I mean, if you do? You’re in…

2026 Repress

Techno mainstay Gary Beck drops hugely sought-after cut 'Hopper' on SHDW's Mutual Rytm sub-label Spectra, with remixes from KiNK.

Glasgow-born Gary Beck is a primary figure in techno and has been for well over a decade. Dropping seminal
underground classics and cultured full-lengths on an array of leading labels, as well as his own BEK Audio imprint,
he has also led the way as a revered DJ as his legacy continues to build. Now, adding to his standout 'Upside
Criminal' EP as well as his well-received track 'Fold' on the 'Federation Of Rytm III' VA, he returns with a record that
has often featured in both his and Mutual Rytm boss SHDW's sets, stepping out on the label's Spectra series with
a cut that has long been sought-after by those who know.

A spontaneous studio moment turned club weapon, the timeless 'Hopper' merges a syncopated disco bassline with
subtle nods to funk and classic dancefloor energy. It's one of those tracks that lingers in your head long after the
night ends - a pure embodiment of Beck's raw energy and production finesse built on an infectious groove full of
contrast and character.

Bulgarian synth wizard, hardware genius and tireless innovator KiNK delivered Spectra's inaugural release, so he
lands as the perfect person to remix. His first interpretation stays close to his roots with a house-leaning, slowed
down take that channels warmth and groove in equal measure. On the B2, however, he flips the script with a high
octane fusion of techno and UKG. It's a peak-time anthem engineered to ignite dancefloors and closes out a
standout EP with the third release in the Spectra catalogue.

Gary Beck 'Hopper' drops via Mutual Rytm Spectra on 20th June 2025.

Second offering from Leo Gibbon’s MUDLINE imprint sees the producer reunite with grime’s perennial wild card, Trim, for a two-sided pressure test that flexes both restraint and raw power in equal measure.

On Side A – Orbit Step, Gibbon leans into the emotive end of the 140 spectrum — all reflective pads, sci-fi shimmer, and subbed-out swing — with Trim delivering a rare, inward-facing performance. It’s grime as meditation, anchored by subtle tek textures and lyrical ambiguity. The accompanying acapella, exclusive to the vinyl, is a potent bonus.

Side B – Danny and Darren flips the script entirely. It’s a no-frills, floor-ready juggernaut — grime at its most ballistic. Trim in full yardman mode here, riding the riddim with relentless intent. It’s sweaty, chaotic, made for late sets and soundsystem abuse.

Instrumentals included on both sides, giving extra room for exploration and dubplate mischief.

A bold second chapter from MUDLINE, Orbit Step builds on the promise of Happy Lovers and underlines Gibbon’s growing prowess in crafting versatile 140 tools with personality — while Trim, as ever, shapeshifts with ease.

Double A-sided lost & found Maffi 7" from 2013, with vocal cuts by Junior Roy and Lord Sassafrass.

Built from the DNA of Sleng Teng, the Heidi Riddim flips the scripts on this most classic of classics by taking it to the black keys, in a minor key style and fashion. With its thick deadly bass line at the fore, Heidi has been specifically engineered to kill tin pan sounds and discombobulate Babylonians.

On the A side, with Run Di Session, the then 16 year-old Parisian phenomenon Junior Roy demonstrates his distinctive vocal style, bearing uncanny similarities to the likes of Little Kirk and Yami Bolo at their prime. On the flip, the veteran thoroughbred Lord Sassafrass gallops across the riddim with the same panache that saw him rule dancehalls across Jamaica in the 1980s.

This is the second of the two Heidi Riddim 7"s, following up the now hard to find Speng Bond cut and the raw Dub version.

TRANCE ATLANTYK is dropping some serious heat with the upcoming release of EARLY ZEROS, the latest EP from label founders PANKOFF & DJ VARIUS TRAX. After experimenting with some polish vocals on their “Sound of Poldon” debut EP, the duo serves us this time a modern high-energy tribute to the early 2000s—an era when progressive house and trance ruled the dance floors.

The EP kicks off with "Early Zeros," a track that’s pure nostalgia wrapped in a slick, modern package. Think of it as a sonic time machine, zooming you back to those legendary nights when the bass was thumping, and the vibe was electric. It’s got that uplifting, feel-good energy that’s impossible to resist.

Next up is "Schemes," a track that’s as deep as it is groovy. This one’s all about the journey, with layered beats and hypnotic rhythms that build and evolve, taking you on a ride through the trippy side of progressive house and early trance music. It’s got that classic, boundary-pushing vibe that’ll have you lost in the music.

On the B side the duo slows down the tempo with the track “We Can Rebuild Him” that pays homage to the 6 Million Dolar Man, one of Pankoffs favourite TV series. Piercing cascading synths, a driving bass line and some breakbeat percussion thrown into the mix make this one a great choice for the eclectic dj’a out there.

And just when you think it couldn’t get any better, Bliss inc steps in with a remix of "We Can Rebuild Him" that flips the script in all the right ways. This remix increases the tempo of the chuggy original and transfoms the track into a stomping peak time banger that some might label as furious progressive tech trance.

EARLY ZEROS isn’t just an EP—it’s a party, a flashback, and a forward leap all rolled into one

Jaden Thompson returns to Crosstown Rebels with ‘Downtown’, with remixes from HoneyLuv and Ghoulish. Marking his first solo outing on the label following ‘Talking Walls’ alongside Seth Troxler, the fabric resident impresses once more following recent material on Classic Music Company, PIV and his own Midnight Parade imprint.

A new school talent whose sound takes cues from Chicago while pointing to the future with forward-thinking allure and energy, Jaden Thompson’s ascent is well-documented, having been tipped by an endless list of industry heavyweights and global media outlets from an early age. Releasing on labels such as Cuttin’ Headz and Classic Music Company, amongst others, plus his own Midnight Parade imprint, Thompson’s sound and dynamic sets have seen the UK talent become a favourite for many while also hosting his ongoing Rinse FM show and curating mixes for the likes of Circoloco and Keinemusik through to Nike for it’s annual Air Max Day. Having made his label debut on Crosstown Rebels in 2022 with his standout collaboration ‘Talking Walls’ with Seth Troxler, Thompson now returns to Damian Lazarus’ legendary imprint as he serves up his first solo record on the label ‘Downtown’ - backed by remixes from surging US DJ/producer HoneyLuv and emerging UK talent Ghoulish, who makes his debut on the imprint.

Merging various shades and sounds from across the electronic sphere, ‘Downtown’ brings vibrant vocals, energy-charged synths, and sharp metallic percussion, all balanced perfectly, to the fore. HoneyLuv’s remix brings jacking drums while warping the original’s vocals todeliver a peak-time interpretation before Ghoulish flips the script, utilising off-kilter drums and spiralling lasers amongst heavy low-ends.

Opening a new chapter for DNO Records, PLLFRY debuts on the label with five raucous halftime tracks that also feature collaborations with two vocalists – NST & Genoveva. The ‘Overexciting’ EP is built around iron-clad percussion and a healthy dose of mangled sonic futurism, but the dominating flavour throughout is big, bold, unadulterated bass.

As might be expected of tracks called ‘Demolition’ and ‘Collapse Of The System’, there’s plenty of damage being dealt; the former’s wrecking ball bassline spins violently as its supporting beats splinter and fall, while the latter’s destructive low-end hacks chunks from its itchy sci-fi soundscape like some psychotic sentient buzzsaw.

There’s room for nuance too, however. The title track is all about contrast, its rumbling bassline winding along like a colossal serpent, while hi-hats chitter, and Macedonian vocalist and producer Genoveva delivers a haunting, silvery vocal that’s cold and alluring in equal measure. And as if the undulating low-end and metallic melody of ‘Water Fire’ weren’t enough to make heads spin, the track features a vocal from South Russian up-and-comer NST that seems to slip and slide at will, pulling the track forward and always remaining just out of reach.

Bonus track ‘Old School’ nods to the golden age of hip-hop, taking a tough boom bap-style beat and scratch samples, but flipping it script with machine glitches and pellets of acid.

Like a collection of missives sent back from a hi-tek future, the ‘Overexciting’ EP serves as a reminder that DNO can’t be pigeonholed, and always stays one step ahead.

Rhythms of postmodern realism at the very bottom of the DNO.

Eight releases in, Leonidas & Hobbes have honed a mutual love of soundtracks, disco, jazz, house, techno, acid, psychedelic, African and dub sounds.
Web Of Intrigue is one part tribute to lost 70s soundtracks, when music was created on the finest analogue hardware, featuring full bands, session players and lush orchestrations, one part tribute to 70s disco gods Nile Rodgers and Bernard Edwards (Chic) and one part mid-tempo but nonetheless cosmic house. The three parts fuse to form an instrumental track sounding as fresh as a whole meadow of daisies in 2017 and one that's been going down extremely well with international DJs who have road-tested the material.
Heavy Weather flips the script for a deeper workout in a 3/4 time signature - more of a cosmic waltz. Taking its main cue from 70s jazz fusion heroes Weather Report and The Doors' Ray Manzarek, it incorporates rich African percussion, spaced-out flourishes exhibiting the duo's love for the dubs of Lee Perry, King Tubby et al, and a good old fashioned arpeggio of an acid line - definitely a more esoteric number, all told.
The 'Dawn' and 'Acid Rain' mixes push different buttons for the heads, as suits the mood. It all adds up to a very Balearic confection, fitting snugly in with the burgeoning revival for this somewhat ineffable sound - a trend that seems to be getting stronger/bigger every year, popping up every time the sun gets his hat on and we all remember how to party like the lucky residents of that infamous White Isle....
MORE INFO
London/Edinburgh analogue electronic duo Leonidas & Hobbes released debut EP "Machines, Tapes & Electronic Setups" via the Hobbes Music label back in May 2013, picking up plaudits and support from the likes of Resident Advisor, Mixmag, Erol Alkan, Ashley Beedle, Alan Braxe, Shadow Child, Jimpster, Nick Warren, M.A.N.D.Y., Leftside Wobble, Mr G, Auntie Flo, Sasha, John Digweed and many more... The duo were consequently commissioned to remix the Pet Shop Boys.
Second EP "Mo' Machines" came out on the label in April 2014 and received equally high praise, with i-D Magazine inviting the duo to record a DJ mix which has to date chalked up a whole lot of love on Soundcloud.
Leonidas has released two other collaborative EPs with London-based Japanese DJ/producer Kay Suzuki via his Round In Motion imprint, equally winning fans worldwide, with a track now forthcoming on new label YAM Records' You And Music Volume 1 EP plus much more in the pipeline for 2017. Leonidas also has his own lovetoparty label, releasing edits of much-loved disco tunes on limited edition 12" vinyl format and free download. Previously, Leonidas made a name for throwing word-of-mouth parties around east London on his audiophile 'lovetoparty' sound system (providing some of the inspiration for much-admired late-night watering hole Brilliant Corners).
Equally, Hobbes ran the widely acclaimed Trouble nights for ten years in Edinburgh/Scotland, working with the great and the good from across the soul/jazz/dance spectrum since '02, and championed up-and-coming live talent via his Limbo 'gig-in-a-club' nights at The Voodoo Rooms for nine years since '07. Hobbes has toured his DJing style to the various corners of the dancing planet, including gigs in the Far East, much of Europe and across the UK. The Hobbes Music label has otherwise featured artists as diverse as Auntie Flo, JD Twitch (Optimo), Neil Landstrumm, Craig Smith (6th Borough Project), Ali Renault, iO Sounds, Joe Howe, Debukas, Fudge Fingas, Marco Bernardi, Dimitri Veimar, Mick Wills and Nightwave, with further support from Ben UFO, Justin Robertson, Motor City Drum Ensemble, KiNK, The Revenge, T.E.E.D, Kiki, Groove Armada, Maceo Plex, OOFT!, Domenic Capello (Sub Club), XDB, Ben Mono, Masa Sutela, Bawrut/Scuola Furano, Numbers, John Heckle and many more...

Mit Grumpy Pieces kehrt der Düsseldorfer Musiker Harmonious Thelonious alias Stefan Schwander mit einem Werk zurück, das seine langjährige Klangästhetik präzise destilliert und zugleich spürbar aufreibt. Wieder verbinden sich Pan-Afrikanische und Nahöstliche Rhythmuskonzepte, minimalistische Wiederholungsstrukturen und reduzierter Elektronik-Einsatz zu einem hypnotischen Sound - diesmal jedoch rauer, trockener und offener für Brüche als zuvor. Die acht Stücke wirken wie unter Spannung gesetzt: Melodien schaben über kantige Bassfundamente, scharfe Snare-Schläge durchschneiden das Gefüge, und trotz des klaren Groove-Fokus ist ständig ein nervöses Knistern präsent. Grumpy Pieces reflektiert eine Gegenwart voller politischer und gesellschaftlicher Reibung - ohne explizite Kommentare, aber mit einer Musik, die Reibung selbst zum Gestaltungsmittel macht. Während die A-Seite vergleichsweise direkt beginnt, öffnet sich die B-Seite zunehmend dem kontrollierten Zerfall, bis der finale Track "Dissolving" den Titel programmatisch umsetzt. Entstanden ist das Album in Schwanders Düsseldorfer Studio - intuitiv, unmittelbar, ohne große Bildschirm-Arrangements, eng verwoben mit seiner live-erprobten, tranceartigen Arbeitsweise. Grumpy Pieces ist kein Bruch, sondern eine Zuspitzung: ein kraftvoll verdichtetes, körperliches und zugleich unruhiges Album, das die charakteristische Handschrift von Harmonious Thelonious schärft. Tanzmusik mit Widerstand - und Biss.

Ashley Tindall, AKA Skeptical, returns in peak form with Blimp EP — the fourth release on his Rubi Records imprint — delivering four meticulously crafted cuts of uncompromising drum & bass.

Opening with the title track, Blimp sets the tone with a deep, steppy wobbler that nods subtly to the title track from his second Rubi Records release, Capsize EP. All the signature Skeptical hallmarks are here: hypnotic, pared-back metronomic drums and shimmy-inducing, undulating subs that demand movement. Yet this time there's a noticeable shift — warm, underlying melodic pads bring an unexpected emotional depth. It's not dreamy, but it is more introspective than we're used to, showing another layer to his sonic palette.

So Good flips the script entirely. A dark, cinematic growler, it leans into ghosted vocal fragments and a futuristic film-noir aesthetic. Tense, claustrophobic rhythms and sinister textures create an unsettling atmosphere — tailor-made for those lights-out, pressure-heavy dancefloor moments.

Third comes the undeniable monster of the EP, Technology. Trademark "stink-face" Skeppiness is in full effect from the first bar. Disjointed sci-fi stabs and eerie pads collide with clinical, almost militaristic drum programming, all anchored by a devastatingly weighty bassline. Movement isn't optional — this is pure Skeptical, uncompromising and lethal.

Closing the EP is Bad Generation, a sound system–influenced weapon that finds Skeptical operating at his dubwise best. Fusing minimal D&B with heavyweight, roots-inspired rhythms is no easy task, but here it's executed with effortless authority. It's equally suited to shelling down a rave or getting lost in a deep, eyes-closed session.

Four tracks. Four distinct moods. 100% Skeptical.
Blimp EP confirms once again that his sound continues to evolve — sharper, deeper, and more refined with every release.

Support: Ben UFO, Joy Orbison, Gilles Peterson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Lens.

Following the overwhelming response to the Warner remix series produced by Joe Claussell, with copies disappearing in hours-another Stella remix package steps forward. This is not part of the Edits & Overdubs series. No loops. No shortcuts. Like the previous release, Ashford & Simpson’s “Stay Free” was rebuilt straight from the original 48-track 2-inch multitrack tapes, resulting in two fully realized remix versions designed for the floor. The A-side delivers a 14+ minute deep, extended journey-patient, evolving, and powerful, injecting new life while honoring the soul of the original. The B-side flips the script with an Alternate Instrumental, stripped back and ready for late-night moments. Cut, tested, and refined on dance floors worldwide over several years, these versions have already proven their weight in real club settings. Pressed on green vinyl, housed in a heavy Japanese-style cardboard sleeve, and accompanied by a Warner-style disco promo one-sheet and bumper sticker-a nod to the golden era of 12” promos.

Limited to 300 copies. Similar to the Deodato Whistle Bump 12” - No repress. No extras.

Beat Machine Records is proud to present the fifteenth chapter of its iconic Swinging Flavors series, starring Ac1d Vicious—a brutalist force in underground jungle and acid rave—backed with a remix from high-speed specialist Samurai Breaks.

“Screamer” is exactly that: a hardware-driven sonic assault that draws from 90s breakbeat chaos and acid techno ferocity. Think distorted amen breaks colliding with tortured 303 riffs, all arranged on glitchy hardware gear with no safety nets. Every snare slices through, every bass stabs deep—it’s raw, unstable, and unapologetically intense.

The B-side flips the script with Samurai Breaks’ signature footwork‐meets-jungle rework. Twitchy, fast-paced and percussively scattered, his remix injects hypermodern energy while preserving the original’s rave DNA. The two tracks together form a high-pressure 7” that captures both the nostalgia of old-school warehouse violence and the momentum of cutting-edge club experiments.

Following artists like DJ Sofa, Ornette Hawkins and naco, to name a few recent ones, Ac1d Vicious marks a new evolution for the Swinging Flavors series—one where tempo and texture are weapons, and the dancefloor is a war zone.

This release continues Beat Machine Records' mission to highlight forward-thinking club music rooted in global underground culture, with a sharp focus on physical formats and hybrid rhythms.


b b1. Screamer Samurai Breaks Remix

Planet Trip Records is pleased to present Aqua Terra, the latest EP release from Friedrich Trede and Stephan Braun, the respected Munich-based DJ and production duo better known as Rhode & Brown. Since 2010, they’ve racked up a slew of quality releases through Permanent Vacation, Public Possession, Shall Not Fade, and their own Slam City Jams imprint, while playing well-received DJ sets across Europe. Along the way, the two longtime friends have spent the last fifteen years incorporating influences from electro, italo, synth-pop, breakbeat trance, rave music, and ambient into their blend of uptempo house and techno productions.

Shifting gearspeed, Aqua Terra sees Rhode & Brown trying something completely new and unexpected from them: a record inspired by UK street soul, digi-dub, and transatlantic R&B and boogie from the 1980s and 1990s. Beginning with the Loose Ends slanted synthesiser chords and shuffling machine beat of ‘Heart Attack’ and the glossy new jack swing bounce of ‘Passion Sauce’ (both featuring sultry Berlin-based New York singer Marlena Dae), Aqua Terra quickly reveals itself as a treasure chest of heavy tunes. Steeped in love and lust, ‘Heart Attack’ and ‘Passion Sauce’ are essential sing-along numbers for the warm-up and the warm-down.

The exemplar of a groove that keeps on giving, ‘Aqua Terra (Acid Frog Mix)’ is a note-perfect example of digi-dub redone for the 2020s. Keeping us guessing, Rhode & Brown flip the script on ‘Longo Doggo’ by borrowing elements from sampledelic ‘90s turntablism and blending them with a post-disco/electro beat and a slinky bassline for the ages. From there, ‘Multiflora’ sees our protagonists back in a bassy digi-dub mode, before closing things out with an acid breakbeat slanted demo mix of the title track.

After persistently fine crafting their sound in the studio for two years, the dynamic duo Blame The Mono return to Molekul with a powerful second opus.
Pulse Persisters is an explosive 4-track EP showcasing their vision of fun, creative and genre-bending techno.

Podgorica sets the tone of the EP with its swelling lowend, 2000s evocative acid bassline and intense breakbeat build-up.

Flip The Phase sends you on a face melting journey strewn with stuttering dub chords, playful vocal chops and a jungle section that completely flips the script.

Digital Diva loops a catchy 80s pop diva vocal and combines it with a frantic dub-tinged groove for effective dancefloor results.

Molly Pop sees the duo collaborate with German producer Lifka on an unrelenting psy-influenced peaktime weapon that closes the EP on a strong note.

US veteran JT Donaldson makes the sort of killer tech house that immediately makes you want to move. This time out the Dallas, Texas resident lands on Dolfin Records with a deeper sound that is raw and heavy. 'Choose' rides on knackered-sounding kick with just deft synth smears for company. 'Don't Sweat' has a double-time rhythm with sombre chords adding the soul and 'Want Her Around' gets the hips swinging with its lovely claps, muted, softly glowing sustained synths and lumpy deep house drums. Flipping the script yet again. 'Sunday Drive' is a more nimble and jazzy dancer and 'Take 2' is a sunny house sound with hints of Metro Area nu-disco synth magic and a big fat bassline.

An exclusive 7" re-release of this psychedelic funk ballad from Tulsa's "Outback" Band. As featured on Now-Again's 'More Loving On The Flipside' compilation, "Strangers (In Our Homeland)" epitomises the expression of social & political change during an era of psychedlia infused music. In partnership with the two surviving members of Outback, both Symphonical & Now-Again are proud to showcase the voice of independent artists.

----------

The origin of "Outback" dates back to the late 50s, a five-piece blues outfit named "Little Lo and the Rest of Us" included music educator & bass guitarist Edward "Cha-Cha" Cherry, saxophonists Eugene "Buggy" Roach & James "Flab" Farley whom, alongside drummer Roscoe J. Dabney III "Roach", Ronnie Wilson on trumpet, guitarists Roy "Rochester" Walker & Michael Collins, would form The Magnificent Seven, the house band for Tulsa's 'Rose Room'.


Alumni of Booker T. Washington High School, The Magnificent Seven influenced & set the standard for the Tulsa sound, as demonstrated through their only single, recorded in 1966, the two part 'Pluck-A-Pluck'. 'The Sevenettes', the groups' female vocal trio, included the rotation of Lena Luckey Wilson, Gwendolyn French, Rose Brewer Lewis, Jeanetta Williams & Maxayn. The Magnificent Seven, led by "Cha-Cha", toured nationally throughout the 60s with their infectious, raw R&B sound, and were the platform for many of Tulsa's talent including Ronnie & Charlie Wilson who would later create the GAP Band.


Roscoe J. Dabney III, the first Black Panther to establish the Tulsa chapter in 1969 known as the NCCF (National Committee to Combat Fascism), proposed the name change to "Outback" in the early 70s. Their sound & formation was changing from R&B to Psychedelic, from the grit to the phase, epitomised by their unique line-up of having two bassists playing simultaneously, both Reggie Cherry & "Chilly" Willie Lewis, the musical foundation to their only recorded single, "Strangers (In Our Homeland)" & "Reggie's Thang".


Song writer & band affiliate, Maurice Pope, produced the lyrics to "Strangers (In Our Homeland)" and handed over the musical attributes to Willie Lewis & Outback to convey his message, as sung by Lena Luckey Wilson. Dabney recalls the song is based on religious scriptures, whilst highlighting the parallel of Black slavery in the U.S.


"Reggie's Thang", written by Dabney's cousin, bassist Reggie Cherry, provides a psychedelic instrumental, a sound which Lena recalls is what set apart Outback from other Tulsa groups. As well as playing clubs, the seated shows provided an environment for the group to showcase their musicianship to those who wanted to be immersed & listen.


Their single, released on Empathy, was recorded in 1972, and are the only known recordings by Outback. Recorded live onto 8-track at a studio located at on East Pine St in the heart of Tulsa's Black community, an independent & unknown studio located on a strip mall.


The Outback members who recorded are:


Lena Luckey Wilson - Vocals

Roscoe J. Dabney III "Roach" - Drums

"Chilly" Willie Lewis - Bass

Reggie Cherry - Bass

Edward "Cha-Cha" Cherry - Keys

Joyce Daws - Trumpet

Roy Walker "Rochester" - Guitar

Robert Luckey "Uncle Bobby"- Percussion

Fredy Berry "Freddy" - Tenor Sax


Band leader & group manager: Edward "Cha-Cha" Cherry

Booking Agent: Ernie Fields Sr.

In 1973 whilst performing in Ft. Worth, TX, Buck Ram approached Willie Lewis backstage and invited him to join The Platters, Lewis accepted. Supposedly, a recording deal was offered to Outback in exchange, which never happened.


The group continued in various formations after Lewis left, however as an integral member, the feeling never equalled their original form and soon after dissolved.


Leon Russell approached Lena Lucky Wilson in 1974 to go on tour with the GAP Band as their backing singer, upon returning Tulsa Lena moved to Los Angeles to pursue her musical career with Leon & Mary Russell amongst various others.


Dabney continued music and became a TV producer & director in 1976.


The only surviving members of Outback today are Lena Luckey Wilson & Roscoe J. Dabney III.