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Packed full of fresh phrasing - a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with one side at 83bpm and the flip-side at 133bpm.

When it comes to creating atmospheric soundscapes, rhythm and melodies Vick Lavender is a true master. Shifting Gears, the debut release for Local Talk is a lesson in deep and soulful house music, rich in organic instrumentation.

Opening track Shifting Gears is a bouncing dancefloor gem that's sure to turn heads from the get-go and have everyone smiling and dancing thru out the entire track. 'Here In Spirit Sid' is rhythm-driven affair with added solos that create fresh excitement, Vick shows his diversity as an artist and ability to produce a timeless vibe which we're proud to be bringing you on Local Talk

Riding high on the success of his recent Soul Flip project, Del Gazeebo busts loose here with a pair of Rootsy, rigorously road-tested, certified party starters on his own brand new Art Surgery imprint.

First for a 2020 freshen-up is Barbara & The Browns' sassy, soulful rendition of the Rhythm & Blues and Reggae classic, "You Don't Love Me" - taking the already energetic 1971 recording, stretching it out, and giving it a little something extra in all the right places. Already touted as "one to watch in 2020" on the BBC's Craig Charles Funk & Soul Show & getting support from The Allergies, Smoove & Jalapeno Sound System.

On the flip, Pluto Shervington's 1976 uplifting Reggae smash "Dat" gets a subtle yet crucial lift to make it even more infectious. This sunny, irresistible ear-worm has long been a staple of Del's DJ sets, yet somehow as yet unreleased. Until now; re-refreshed for 2020.

Coloured Vinyl

Kürzlich noch im Vorprogramm von Kolleginnen wie Charli XCX und Marina unterwegs, legt die Kanadierin Allie X im Februar mit "Cape God" ihr neues Album vor. Zuvor gab es bereits einige Singleauskopplungen - zuletzt im November. Die Single „Regulars“, die auch am Radio Erfolge feiern konnte, basiert auf persönlichen Erfahrungen und umkreist die Frage, was es bedeutet, ein/e Außenseiter*in zu sein. Auch wenn Allie X mit „Regulars“ die nächste Phase ihrer Karriere einläutet, knüpft die Sängerin und Songwriterin damit ganz klar an zuletzt veröffentlichte Tracks wie „Fresh Laundry“ oder auch „Rings A Bell“ an, die mit ähnlich aufrichtig-abgründigen Texten daherkamen.

XXX starts 2020 fresh with catalog number XXX008. A diverse EP with four original tracks by Stijn Sadée, who had a killer release on Kitjen in 2018. It’s not the first time we see Stijn Sadée releasing on XXX, but this time he delivered a proper EP. Manfredas is on remix duty on the b-side. When Stijn was playing his live set on a festival in Amsterdam Manfredas saw him play. They clicked soundwise and a remix idea was born. Artwork was made by artist Thomas Sadée in collaboration with Stijn himself. Already played and supported by massimiliano pagliara, il est vilaine, nuno dos santos, dave harvey, curses and many others.

Limited edition of 300 copies on white vinyl of the third release on "90's Tapes". Endangered Species' “Intangible” was an underground classic released in 1999 on cassette in a very limited run, when word got out this music somehow spread from Calgary throughout Canada to Chicago, Australia, Europe & beyond. The producer / MC combo of Nohow & Infinite P produced the record on the ASR-10 in their dusty home studio using records & a Roland digital 8 track. The only guest appearances were from Agape (Isosceles) & DJ Vinroc (5th Platoon / Triple Threat DJ’s) a song they recorded on tour. 21 years later this record finally gets it’s proper reissue treatment.

Paella Hair Sex is the beginning of a new chapter in Alexis Raphael’s musical story. The first two EPs will be from the label boss himself, kicking off with ‘Digital Music Almost Killed Me EP’. Then attention turns to new artists joining the PHS family - please email demos to paellahairsex

Alexis came to prominence in 2011 with his seminal track ‘Spaceship’ and followed with a series of lush, sexy and warm house records that gained universal praise and put Alexis’ sound all around the world with fans from Australia to Peru. As the music and scene evolved, so too did Alexis’ sound becoming somewhat harder whilst still retaining some of his signature elements; references to acid house, hardcore and jungle, deep pads and sweet vocals.

However, by 2016, Alexis had become somewhat disconnected with the path of the music and scene he was involved in. It took a long time to put together what was wrong, but what followed was a three year path to this point now of launching PHS.

A return to and playing vinyl at the end of 2016 was the first step to finding his love again and feeling good about the music. This was followed by a halt to gigs where the music expected from him was different from what he wanted to play and a feeling of disconnect from the crowd. Then came the gradual move away from constant social media output.

The final and most important part of this transition was going back to making music simply without any thought of where it can fit or who can play it, or what label it will go into. In essence this is a return to how Alexis started - making music solely from the feeling inside.

And so PHS returns to some of that more sexy, emotive house music that Alexis was originally known for, but with a fresh sound for the new decade.

Paella Hair Sex is set to be a representation of the music Alexis loves, both his own and other artists.

The first EP: PHS001 – Digital Music Nearly Killed Me kicks off with the main room groover ‘Respect & Belief’ . A jazz-infused bass line underpins chunky rolling beats, punctuated with vocal samples calling for unity and love and laden with floating classical pianos and warm pads. A definite party banger !
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The second A side track “Sex Appeal” references back to Alexis’ original signature House sound. An emotive and sexy track bound to get temperatures rising on the dance floor .

Flip to the B-side and find the after party brother of Respect & Belief - ‘Liberty’. A seminal minute long speech paves the way to the single breakdown moment of the track when lush Jupiter-8 chords make way for an epic moment as the beats drop back in. A unique piece of minimalistic House music for the after hours .

The bonus track, House of Chorge. ends the EP with a bang. An upbeat cheeky groove that stays in your head long after the turntable stops spinning. But who is Chorge.?

Danish electro duo Krypton 81 delivers their debut EP on legendary Finnish X0X Records. AlphaZero EP introduces five tracks + a remix by Morphology. Musically you can describe these tracks as minimalistic, scientific & funky electro with great vocals/vocoders. There is also strong reference points to Dopplereffekt, Drexciya, Arpanet and others like, but still Krypton 81 manages to bring up something fresh instead of boring pastiches. Finnish duo Morphology is on a remix duty with track "A.I. Corporation". Their treatment of the original track turns it into bass heavy electro, or one might even describe it as breakbeat if you like.

The first release under Richard Wilson's Rognvald alias kickstarts the new WIFE series with four solid punches of breakfueled rave mania. The pitch black title track "R.O.G.N.V.A.L.D" serves as a fierce introduction to his fresh material with its epic scale combination of relentless drum work and meticulous arrangement. Up next is the hefty chunk of "Whistle Posse", all rude basslines and rave whistles finely tuned for maximum dancefloor damage.

"Lowcol Junglist" opens the B-side with it's masterfully slick drum control and enormous bass drops followed by the subterranean drum hypnosis of closer "Asbiorn". This is bass charged jungle warfare apparatus with a modern ruffneck flex from a man who knows how to murder the dance with precision.

At home, in the islands of Cabo Verde, there was grog, or grogu, a strong sugarcane moonshine not dissimilar to Colombian aguardiente, copiously consumed at Funaná parties. In the diaspora, in Europe, there was leite quente (hot milk). "I can still remember the taste of the first leite quente I drank in Lisbon," says Antonino Furtado Gomes, Pilon's drummer and current band leader.

Synthesize the Soul, Ostinato Records' second compilation, revealed chapter one of the Cabo Verde cultural story in Europe, zooming in on visionaries like Paulino Vieira who made Lisbon the headquarters spearheading the musical revolution taking place within Cape Verdean emigre communities across Europe in the 1980's. Musicians from across the diaspora would eagerly travel to the Portuguese capital to record.

Grupo Pilon represents the second chapter of the Krioulu diaspora story. In smaller pockets, second generation musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe. In Luxembourg, in 1986, a group of teenagers formed the largely unknown (outside of Cape Verdean circles) but consistently brilliant band named after the blunt instrument used in the islands to pound corn for Cabo Verde's national dish, cachupa.

With only five members, Pilon combined searing estilo Krioulu drumming and the hybrid ColaZouk style with blissful synth work and rugged guitar licks, creating a stripped-down, addictive sound that masterfully straddled two worlds, a seductive electro-Funaná carnival born from the first few sips of hot milk.
The band drew from the inspiring political changes of the day: the release of Nelson Mandela in South Africa and the fall of the Berlin Wall. The right to democracy became a constant theme in Pilon's songs.

With access to better opportunities than their parents' generation, Pilon's roster were part time musicians. Music was not part of their academic upbringing nor a full-time gig. Their rhythm and style were wonderfully imperfect, made out of rawer skills and inexperience. Pilon did not follow the templates established by revered Cabo Verde bands. Keyboard player Emilio Borges played off beat and the band preferred arranging their songs to start from the beat normally heard in the middle of a composition rather than the beginning.

These two elements made Pilon's music simple, unique, and inimitable. From 1997-2015, a lack of concerts and professional musicians proved near fatal. Today, Antonino and what remain of the original quintet are slowly piecing back together the puzzle of their once mighty outfit from an unlikely pocket of Europe. In it's heyday in the 90's, Pilon serenaded audiences in Paris, Lyon, Marseille, Lisbon, Rotterdam and Frankfurt, securing their reputation as a respected and unifying cultural force.

This LP, drawing from the six most powerful songs from Pilon's three-album catalog, is the serving of still fresh leite quente to spice the summer and maybe even fuel the next generation of musicians in the Krioulu corners of Europe.

Back again it’s the return of the Originals kicking off the new decade with some pure fire and a fresh new label design. Side A features the Bob James classic break Farandole which has been spliced down to a 45 edit courtesy of them doctors of funk over at the DNA labs.
Flip to the B side and DJ Muggs samples the A side to great effect creating a B-Boy banger featuring rhymes from Planet Asia and a guest appearance from B Real – sure to light up the dancefloor. Limited as always – don’t sleep – snooze you lose!

Our much in-demand series of classic Brazilian 45s are back!

Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right.

When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

For its second vinyl release, Eternal Ocean is proud to present ‘Static Flow’: the debut EP of Timo Bürgler AKA Awo Ojiji. Creating his own unique sonic world, Awo Ojiji has delivered a four track body of work that feels at once fresh and familiar. Opening the EP, ‘Lifeforms’ swings out of left field with an off kilter swagger sure to inspire more than a few unique dancefloor experiences. On the interior comes ‘Grainhive’, a groover that strikes a deep and rare balance of emotive texture and raw bassline energy. Flipping over, we find ‘Laura’s Lodge’, perhaps the most oblique tune of the bunch, where slick and expertly crafted percussion compliments the alien sound design that rides out the tune into its own dimension. Closing the record, ‘Swarm Align’ invites the dancer on a journey inwards, deftly maneuvering through a myriad of sonic waypoints until finally finding its way home, to be filed straight away under ‘Deep/Last Song’. Based in Graz, Austria, and having honed his skills alone and through close involvement with the disko404 family, Awo Ojiji steps up in offerance of a unique and personal statement. Taking influence from the current climate and deep history of electronic music and finding a space that is honest and genuine, this is music for the body, mind and soul.

Etruria Beat boss Luca Agnelli returns to the label as he unveils four fresh originals in the form of ‘Dangerous’. A leading name within Italy’s techno landscape and beyond, DJ, producer and label owner Luca Agnelli’s musical journey continues to surge with releases and remixes via the likes of Drumcode, Soma and his own Etruria Beat imprint.

Having played a series of stand-out shows to close the year including Universe82 festival (Valencia), Duel (Naples), Die Rakete (Nuremberg) and Steam (Athens), not to mention a breathtaking performance from the top of Torre Del Cassero in his home region of Tuscany, early 2020 sees a welcome return to home turf as the Etruria Beat boss steps out to reveal his latest EP ‘Dangerous’, comprised of four commanding productions.

Title track ‘Dangerous’ unveils a high-octane ride through escalating synths, resounding kicks and menacing low- end tones, whilst ‘High Gravity’ utilises further infectious lead line work and slick, metallic drum licks. Next, ‘End Of Time’ sees the introduction of soaring melodies alongside off-kilter sonics and tripped-out vocal snippets, before closing proceedings with ‘Acidulous’, a driving acid-led effort that snakes through both tough and more melodic territories in impressive fashion.

"21" is the well-crafted, sharp and original first album by the duo HILA, composed by American cellist Artyom Manukyan (who already worked with Kamasi Washington, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark...) and french producer Dawatile.

The combination of jazz, Los Angeles beat-scene and the vibrations of 80s and 90s Soviet Armenia make it a striking and unprecedented fusion. These kind of nostalgic and unconventional references forcefully shake the codes of mainstream culture to create a sincere, raw and intimate expression.

"HILA" was born from a spontaneous and intense creative impulse between Artyom Manukyan, a Los Angeles-based Armenian celloist and his partner in crime, David Kiledjian aka Dawatile, a French multi-instrumentist of Armenian descent. This project is proving to be a true master stroke given that it only took 21 days for the duo to make it a reality.

"HILA" was made in less a moon cycle but captivates and electrifies audiences upon its first outings. "H.I.L.A" colors the warmth of the Californian "High" with Armenian vibes. The artists chose this name for their creation since both have a close and valuable connection to these locales. This journey began in 2007, on the day Dawatile went to Yerevan, the capital of this small country in the Caucasus mountain to realize a first fusion project centered around local folkloric music genres.

There he was introduced to local musicians including the Armenian Navy Band, one of the country's foremost groups in which Artyom played the bass and cello. In this context, he also met many musicians such as Tigran Hamasyan and Norayr Kartashyan. This will be the beginning of connections between Lyon, Yerevan and Los Angeles. The following year, the two artists will be be seen performing next to Taylor Mc Ferrin at the Jazz à Vienne festival. More recently, they partnered up again when the cellist, who had freshly relocated in California, invited Dawatile to produce his album. As soon as the studio’s threshold was crossed, they decided to postpone this record and create a joint project: Hay (as the Armenians call themselves) / High In Los Angeles. HILA was born at the end of these 21 days of intense creation. The association of Artyom Manukyan and Dawatile is the combination of two visions, two versions of Armenia, two personalities, the reunion of the Eastern and Western blocs.

One grew up nurtured by the sounds of hip-hop and jazz in Europe and the other by art music and Russian-influenced 1980s Armenian folkloric music before moving to L. A., Ca. The cornerstone of it all, the glue that unites everything : Armenia and music. They generate a new identity synthesizing two perceptions, their complicity transcending these cultural discrepencies. To achieve this, they will scour through images of Artyom’s childhood, within the popular culture of Soviet Armenia. Together, they revisit this decidedly retro vibe, based on the work of Caucasian groups inspired by African American music. This background is rehashed and fused with ancestral Armenian sounds. The DNA of the album "21" is molded by these dear influences.

We can also hear the ancestral sounds of Armenia, a country at the edges of both Europe and Asia. The presence on two tracks of Armenian music Master Norayr Kartashyan, infuses the languor of past melodies and traditions. These purposeful anachronistic sounds offer a fantastic depth to this powerful opus. Listening to the album, one can appreciate the successful fusion of styles and influences. Those combinations, however, manage to preserve individual identities only to enhance the art through an adamant musical dialogue.

Being driven by the urge to transpose Armenian musical traditions into a unique universe, the daring artists, offer an innovative combination by blending, for the first time, these ancestral sounds with the world of Los Angeles beat-scene and jazz. An invention largely fueled by the magic strings of Artyom and maestro Miguel Atwood-Ferguson, a pillar of the genre in Los Angeles combined. These associations resonate with a triumphant equilibrium. HILA is musical uncharted territory in which Artyom's cello strings intertwine to ignite the harmonies of keyboards, the machines, the vocals and electronic layers Dawatile pieced together. HILA plays the soundtrack of an adventure set between Armenia around the end of the Soviet era and a mysterious near future.

Artyom Manukyan grew up in Armenia in the 90s. At the time, he studied Russian classical music while learning jazz with assistance by his father, a music journalist. Being an unconditional music lover, he went on to sharpen his skills at the prestigious Berkelee College of Music. Subsequently, he’s been lucky enough to travel the world touring with numerous acts and mainly with the Armenian Navy Band. The group has fostered alacritous success honored by a BBC Award as a crowning achievement. He moved on 10 years ago and made his way to L.A. with his cello on his back. In the City of Angels, he quickly became a popular figure of the jazz and hip-hop scenes thanks to his first album "Citizen". He’s accompanied prestigious musicians such as Kamasi Washington, Melody Gardot, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark, or Vulfpeck. He released his solo album on the cello, "Alone" in October 2019.

Dawatile is a bold producer and multi-instrumentist as well as a passionate and resolute musician molded by jazz. As a versatile artist, he handles and juggles the saxophone, the keys, the bass and composition. Simultaneously, Dawatile produces cross-over projects and soundtracks for the movie industry. He, as well, has had the opportunity to be a part of many tours, including with his electro hip-hop band, Fowatile and more recently with the "Future Kreyol" trio, Dowdelin. Being the ever workaholic, he has under his belt a string of prestigious collaborations with the likes of Talib Kweli, Foreign Beggars, Roy Ayers, Tigran Hamasyan, Mathieu Boogaerts, Voodoo Game and Piers Faccini. His taste for developing new musical recipes and his know-how in production make him a much sought-after album producer. In concert, the HILA duo offers a sober, precise and rhythmic performance. "21" is an aerial and lively album taking the audience on an at times joyous and sometimes melancholic dreamlike journey. The magic of "HILA" operates at the speed of light and positions it already as an avoidable group.

Ô Paradis was created by Demian Nada in Barcelona during the 1990’s. Ever since then he has perfected his post-industrial minded free spirited folk-pop sound. The music of Ô Paradis is based on repetitive loops and samples on top of which instrumentation is added. The vocals and lyrics are very recognisable and are an important aspect of the melancholy songs and dark tunes.

Among his 20-something albums are some classics that have attracted an audience in the field of post-industrial music. “Cuando el Tiempo Sopla” is one of the classic albums by Ô Paradis …
Originally this record was released on compact disc in 2007 on the now defunct but legendary post-industrial label Punch Records.

This album represents the style and sound of Ô Paradis in a very striking way. After all those years it still sounds fresh and relevant
and has lost nothing of its power and charm … Also it features collaboration with like minded artists Jürgen Weber from Novy Svet and Tairy Ceron from Ait!/Punch Records.

Now “Cuando el Tiempo Sopla” is available for the first time on vinyl and serves both as a collector piece for the fans as well as an introduction to a new audience…

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

4 track UKG E.P from Crazy Bank which includes a remix from the 2-step master DJ Perception, fresh from releases on DPR, Moodswing, DR Banana and Rhythm N Vibe. Also features a Garagehouse remix from Beforethebeatsbreak and a Crazy Bank 2-step dub from the former Locked On artist.

Fresh off a collaborative release on Underground Quality under Grand Combo with DJ Jus-Ed and a solo EP on Patrice Scott's Sistrum, Henry Maldonado (p/k/a Son Of Sound) returns on his home-grown District 30 imprint with 4 tracks of deep, New York City grit in Machines On The Dresser.

The release of Marc‘s album „Voyage de la planète“ in 2017 marked a new era of his career. With ten rather beatless tracks where he combined his definition of electronica with classical instruments like violine, cello, double bass and piano Marc began to walk the path of fresh sounding music for the brain.

The title track has been the most successful one so that Marc called no one else than Erased Tape‘s poster boy Ben Lukas Boysen from Berlin to contribute his very own interpretation. Ben created a typical and unique version which comes along with a, believe it or not, 4/4 kick pattetn towards the end. But listen yourself, it totally makes sense. And Bordeaux‘s best Ocoeur made a short but epic ambient version you also should not miss.

Borneo Records welcomes Swedish made, Berlin based DJ City to the family!

As a fairly fresh face to the European dance music scene, involved with renowned musical outlets like Cocktail d’Amore and Born Free, DJ City has been turning heads with his playful and energetic style.

For Borneo’s ninth release DJ City delivers two deep dance floor cuts, referencing and paying hommage to his childhood idols, craftily combining well known building blocks into future classics.

”Sierra Madre” is a warm and deep dive into the aesthetics of the late 90s electronic music scene, balancing between lush pads and low bit rates. Steadily it progresses as the loops unfold and evolve into an ambient landscape of clear peaks and valleys. Dreamy and suggestive without becoming too literal or camp, it invites its listener to let the mind wander during the course of the dance.

On the flip side, “5426261” is a more playful feature as its percussion and somewhat off tune melodies roll out. The texture is light and invites its listener to venture in thought to an imaginary Mediterranean location right before dawn. The enigmatic title is repeated in a sample towards the end, implicating it is a phone number. Who are you trying to reach?

Written & produced by J. Norling, 2016-2018, Örebro/Berlin. Artwork by Nicole Martens. Borneo Records Rotterdam 2020.

Following his debut release on Jedi Recordings last year, Cantina Cuts bring you another four authentic and fresh jungle/hardcore tracks from Hyped On Acid.

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

Label Boss of UNCAGE label, Marco Faraone delivers a series of incredible remixes of Tin Man's Nonneo single, which was originally released in 2011.
First up is the Floor Mix, which leaves the wispy, undulating acid line form the original in place but layers in more heavy, earth rattling drums down below. It makes for a truly hypnotic track.

Then comes a dub version, which is built on elastic drums with gentle acid riffs floating above the compelling kicks, and last of all is a Dreamy Version that is awash with lush heavenly pads that float up to the skies as the rooted drums keeping things moving down low.
This is a varied and vital package from Faraone, coming on a fresh slab of 10".

French duo Double Mixte bring their digital thunderstorm of neon lit noire to the Italians Do It Better family on their debut EP. Mixed and produced by label head Johnny Jewel, Romance Noire opens the door to a new wave of Italians Do It Better artists coming in 2019.

Fresh Blood. New Tears. The title track arpeggiates and boils as waves of bass flow beneath. Rhythms are carried to the ceiling by a searing cascade of disintegrating color. A heavy backbeat anchors Clara Apolit’s poetry, ready to wear for a night in the face of oblivion.

The cinematic “Arlette” is a call for discovery through a darkness lit only by the glare of headlights in digital rain. Through all of this, Thomas Maan’s incantations search for the lonely, lost in the void of electronic fog. “November” finds in Clara an Anglophonic chanteuse, meditating on the cycles of time.

A blend of suspended sound and an uncertain melody contracts and expands before dissolving. Romance Noire is art that both contemplates and tanscends time’s firm grip. It’s a filmic journey inducing a vague sense of future nostalgia. Happy Valentine’s Day. Double Mixte is Clara Apolit and Thomas Maan.

The duo met in Paris and there was an immediate pull to create music together. They pooled their combined interest in powerful narrative & dark 70’s French film music to write lyrically vivid songs. In 2017, Thomas reached out to Johnny Jewel for what soon became a collaboration that expanded their vision into a haunting debut EP, out today on Italians Do It Better.

VA: various artists, various styles. Six artists tell six different stories. Music is not uniformity.

Musique Pour La Danse invites you to rock your body and free your brain with the second and third volume of Break The Limits. Break The Limits are Bay B Kane and Mister E, two East London underground pioneers who released pivotal and visionary EPs between 1990 and 1991. Nearly 30 years later, it's still fresh.

Stargazer is a huge tune beloved by ravers all over the world, but for a long time the rights to it were in legal limbo. Kniteforce/KFA un-limbo-ed them to create this superb EP of remixes, featuring the classic original, the also classic Reese remix, a fresh new … err … old take by Dj Luna-C, and a proper tough remix from Audio-X. All in all, this single record covers everything anyone could want in an EP …

Club/DJ Support: Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

UKNOWY music is back with a new installment on its more house-leaning "Plastic Garment" vinyl series. This time the EP title is "Midnight Impulse" as every track carries the treats of nocturnal life: it's dark, it's fresh and it's open to all possibilities! Starting with Salomo we have a delivery of a definite club banger with "Transform" - devotees of the likes of Kyle Hall or Steven Julien/Funkineven will definitely get their fancy tickled here. Next comes Italian break-beat maestro Sofa Talk with a rhythmically sophisticated yet deep "ALBA", much in the vein of earlier Plastic Garment releases. Munich house duo Rhode & Brown starts the B side with "You & Me" building intricate synth arpeggios over catchy chords. St. Petersburg's very own Dices closes things off with his more dreamy and at the same time incredibly complex and beautiful "See You There" - a track for the listener or the later hours of the night.

'All We Are' & 'Alex Kapranos' Both Have History With Speedy Wunderground. Label Boss 'Dan Carey' Produced Awa's Shimmering Self-titled Debut Album & Also Franz Ferdinand's Third Long-player Tonight: Franz Ferdinand. For The Latter Carey Also Created A Dub Remix Version Of The Entire Album Called Blood, Tapping Into His Love Of Dub And Earlier Work With Artists Like Lee Scratch Perry And Mad Professor.

In True Speedy Style This New Collaboration Came About Completely Off The Cuff. Kapranos Came To The Speedy Wunderground Stage At London's Label Mates Festival At Moth Club In Late Jan To See An Artist He Had Been Working With Play. All We Are Were Also On The Bill, And After Chatting With The Band And Dan They Invited Alex To Come To The Speedy Session They Had Planned With The Band Two Days Later At Dan's Studio In Streatham.

Once In A Room Together The Music Came Fast. The Remainder Of The Day Was Spent Forming Lyrical Ideas. All Present Including Carey Contributed, Jotting Down Ideas, Excerpts Of The Days Phrases And Conversations And Putting Them Together In True William Burroughs Cut-ups Style. 'It Was A Way To Detach From Conventional Song Subject-matter' Says Kapranos. All We Are Agreed, 'The Writing Process Was A Lot Of Fun And For Us A Completely Fresh Way Of Looking At It.'

... The Resulting Track 'Heart Attack' Is A Skittering Disco-post-punk Jam. Equal Parts Of All Their Day Jobs Form Something Fresh, With Echoes Of Talking Heads And Alex's Unmistakable Vocal Delivery Over The Top. 'The Speedy Tracks Are Always Such A Good Vibe And The Studio Is Such A Special Place' Say All We Are. Kapranos Adds, 'as I Think Is Typical For The Label, Nothing Existed In The Morning When We Got Together, And Then Suddenly Everything Was Completed And Recorded By The Time We Went For A Pizza In The Evening.'

- Get Out Of The K-hole. Get On To The Beach.

Riotvan premiere! This EP marks the first release of an act on the Leipzig-based label which was not contrived in its direct commuting area. Which obviously doesn't mean that the city lacks fresh output at the moment. But these five Thomalla tracks are simply too good to leave them to another label.

Cititrax presents a full length LP by a new duo called Tornische. Julio Tornero and Hanna Chamiarytskaya (aka Anneq) got together in Madrid after having met through mutual friends. Immediately, they bonded and found a musical chemistry between them. They went into the studio and began revisiting Julio's unreleased archives, incorporating what he had already recorded years ago with fresh sounds and Neu Deutsche Welle style duets. The result is a modern, chaotic, take on 80s European new wave, 90s detroit electro, and contemporary indie pop. The energy level is always high, the melodies are catchy and the vocal delivery and lyrics futuristic, subversive, italo-disco / punk, and surreal. A special album, this one is line with Medio Mutante's classic debut EP, 'Inestable' (2008) and not unlike the pioneering sound of Liaisons Dangereuses.

The vinyl will be pressed on 160 gram ultra clear and limited to 500 copies. The record is housed in a PVC printed sleeve, with a neon graphic designed by Peter Miles. The back features an image by Nastya Porukevich along with the track titles and album info.

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

Stripped down to the roots, these 13 contemporary new versions of classic Jamaican recordings, originally from the likes of the Trojan and Studio One studios, are triumphantly fresh and channel Jamaica’s rebel music history.
With Rastafari sewn into its sonic seams, Inna De Yard remind us of Jamaica’s vast contribution to popular music around the globe with a cast of golden-generation roots artists whilst introducing a new class of roots-enthused artists from the island.

Following the release of the album is a feature-length Inna De Yard documentary-film directed by Peter Webber (3 Oscar nominations for Girl with a Pearl Earring), set for its UK and international cinema release alongside European tour and summer festival dates including a special beach performance at the music industry Midem Festival in Cannes.

After a sell-out debut tour in France in 2017, the trailblazing quartet of Ken Boothe, Cedric “The Congos” Myton, Kiddus I and Winston McAnuff join forces to front a cross-generational super-group of roots-reggae visionaries, featuring Jamaican vocal trio The Viceroys and Bob Marley backing vocalist and artist Judy Mowatt, as well as Jah9, Var and Derajah, three of Jamaica’s most stirring and spiritually-connected artists on the scene today.

Sauce Combo is a powerful and dynamic jazz trio lead by Marcjean, saxophonist from Bestown (Besançon), sided by the mercenary drummer Tom Moretti and the melodious
Victor Pierrel on bass. The trio's music takes place in the modern jazz renewing coming especially from England and the USA. France has now a champion. Inspirated by vintage african and west indies jazz, 70's jazz funk and fusion but also 90's drum & bass, broken beat and hip hop, the repertoire is a rich jazz bomb exploding to the
ears. Each second brings its his new colorful burst to admire. The band's brilliant game makes it a living listening experience. The music is rich and versatile but cohesive and united. Why?
Crash Test came to light in one day during a single 7 hours recording session at the Honey For Bear laboratories. Arnaud Bataillard, the sound's engineer, wanted to try several new
tubes and audio gears added in his studio set up. The trio went to test it in a crash test session. All the recordings could have been compromise somewhere but... What was before planned as a try ended into a fantastic album. The mental disposition, while playing
when you know that all can be lost in a minute, gave the musicians the proper dimension to express their feelings in a total freedom. They were playing for pleasure and without any pressure. It was for all, but it could have been also for nothing. And we can literally feel that. This unique record had to be release as soon as possible to transmit the freshness of this beautiful impact to the listeners. Above all, Clément Laurentin's "Equilibre Précaire VI" achieves this album, offering a painting with four figures at the edge of the fall, in a constant imbalance, playing with time and gravity. It's the perfect allegory for the three band's members plus the engineer while making this record.

Pedro "Ramayá" Beltrán, born in Patico, a small town in Colombia's Bolívar province, is a maestro of Colombian folkloric music known as the King of the 'caña de millo' flute, although he is also proficient in various percussion instruments as well as the reed instrument known as 'gaita'. He founded La Cumbia Moderna de Soledad in the early 1970's. With this group he set out to "modernize" the folkloric music of his people, adding electric bass and a brass section to

fresh arrangements of cumbias, porros, fandangos, puyas and other costeño genres. "La Clavada" (1979) was La Cumbia Moderna de Soledad's sixth record and first for Codiscos' Costeño imprint.

The LP has many excellent examples of Beltrán's inventive mix of the ancient and the modern, making for a collection of tunes brimming with tradition and yet fearlessly bristling with innovation, not the least of which is 'Crees que soy sexy', with its gaita refrain mimicking the main melody of Rod Stewart's international disco smash 'Da Ya Think I'm Sexy'.
The album's title song was a massive hit in Colombia and has become a standard of the genre. Restored to its original glorious sound, this LP is poised to be rediscovered as an innovative yet rootsy gem. Presented in facsimile artwork and pressed on 180g vinyl.

Part of Vampisoul's reissue series of classic LP's from Colombia's Codiscos and it's sublabels such as Zeida, Costeño and Famoso.

Four freshly dare-to-be different cuts of bass-driven Techno, electro/IDM grooves, atmospheric dub chords, weird percussions and odd-uneven rhythms.

There’s a subtle sense of tension and restlessness in the guts of this music but also a lot of space, both colliding in the powerful dubby synth-solo closing track.

Spaziale Recordings is born. Setting their sights on reissuing highly sought-after, obscure records, alongside providing fresh new interpretations of these classic gems, they kick things off with a bang.

Presenting an official remastered limited edition reissue of a classic cosmic disco 12”, featuring extended disco versions of three superb Afro and Latin-flavoured tracks taken from John Ozila’s 1979 killer funk album ‘Boogie Salsa’.

- Released on French label Disques Vogue, the A side offers the highly
infectious afro groove of ‘Funky Boogie’, treasured by the likes of
Horse Meat Disco, Dekmantel Soundsystem and Jack J.
- Previously a fiercely-guarded record collectors’ secret, the flip
houses two great afro-cosmic, obsure disco versions of “Let’s Go
Boogie” and “L’Orange Bleue” previously only available as album
versions on the “Boogie Salsa” LP.

- Now fully remastered and cut loud and proud to 12 inch for
maximum audio pleasure.

Villager, aka Alex Young is a dynamic new producer who has been signed to the iconic Boysnoize Records for two fresh new EPs, kicking off with the superb ‘Aura’.

During the uprising in 2000, aided by the League of Humanity, two of Dr: Gall’s advanced prototypes escape the Rossum Universal Robot factory and flee Earth on a decommissioned spacecraft.

Travelling aimlessly through space, they begin to wonder what their new home would look like. They tell each other stories of planets with no humans to enslave them, no factories to go to — planets where fresh blue water runs through pink, sun kissed mountaintops.

Perhaps it’s fortunate then that these Robots can feel no time, have no sense of past and future? And by the time their ship touches down on Ebaum’s Dreamland, who knows how many years have passed on Earth…

“Ebaum’s Dreamland” is the first Rossum Universal Tracks release.
It features a remix by Julius Steinhoff, who first discovered the scrambled transmissions in his deep space observatory in the woods.

Europe’s leading reggaeton experimenters DJ Clara! And Maoupa Mazzocchetti. exert a tripped-out spin on modern Latin dance and vintage Galician folk styles for Low Jack’s boundary-stepping club division of Editions Gravats. Following the duo’s 2018 debut EP
and Clara!’s ‘Meiga de Acero’ single in 2019 for Les Disques De La Bretagne, ‘Luna Nueva’ binds the duo’s astrological, spiritual and romantic dancefloor cues in a significant new take on Caribbean futurism.

Designed to make you sweat - and maybe check your head -
the album pairs Clara!’s effortlessly nimble vocals with lean and spacious co-production by Maoupa Mazzocchetti in a way that faithfully and daringly plays with reggaeton convention, and, by extension, offers a critique of global electronic dance music currents.

Based in Brussels, Belgium, but originally from northern Spain, Clara! brings a strong knowledge of reggaeton, perreo and trap absorbed from beach parties and clubs back home to a wickedly offset batch of productions by Maoupa, who’s arguably earned a mean reputation in recent years for his killer mixtapes with the PRR! PRR! gang, as well as a slew of 12”s for everyone from Unknown Precept and Mannequin to Arma since 2014.

Together they throw down eight distinctive vocal cuts on disc 1, while disc 2 is loaded with their singular instrumentals. Clara! dispatches ice cool but barbed bars in diverse flows, bewitching Maoupa’s rhythms with on point style in the dramatic ‘Badman’ - a bullet for the male gaze - while layering herself in choral cadence on a spellbinding cover of Faltiquera’s Galician folk song ’Sum Sum’ over unusual tablas and drones...

But while the finer details of Clara!’s pointed but humorous lyrics may be lost on non-Spanish speakers, her co-productions with Mauopa are bound to resonate regardless of tongue, with strong, dare-to-be-different highlights in the hard and psychedelic drive of ‘Gaviléan’ and the bolshy bashment grind of ‘Virgo’, along with straight up freaky gear such as ‘Baja Y Suda’, plus their cold fusion of reggaeton and Mahraganat influences in ‘Secreto Ritual’, and warped hypermodernism in ‘Clarividencia.’ No matter what angle or
language it’s approached from, ‘Luna Nueva’ cycles fresh and luminous with a steadfast yet experimental call to the ‘floor while the world collapses around them.

Following January’s acclaimed vinyl debut from Exterior and summer’s much-loved Kota Motomura EP, Edinburgh’s Hobbes Music label ends 2019 with its first album release, also a debut, from GAMING, a fresh new braindance electronica project straight outta Glasgow.

GAMING is a new solo outing that brings together a lifelong love of music and technology and creating left field, rhythmic electronica. It’s the sound of IDM, nineties techno and mensch maschine computer music that is as spontaneous as it is programmed. It's a bit of a grower and may take time to get under your skin....

“Scenes From A Deserted City is a collection of tracks that started as a set of riffs, loops, rhythms and grooves and unfurled around a sense of growing unease about the future of the urban environment around me.

It’s an album that started out as sound…and ended up as a way of telling stories about the age of anxiety we live in, how our world is changing, and how we find a way through that.

This is DIY electronica from Glasgow – it was made on a growing collection of digital and analogue synths and FX units, including a bunch of modular racks, each with its own idiosyncrasies and character that belies the assumption of the binary.

The studio where it was recorded – an abandoned, and often very cold, school building reclaimed by the community some twenty years ago – offered up stories of resilience, even when all seems lost. (I’m not sure what the mice contributed but they definitely climbed in and out of some synths).

This album is ultimately about my changing relationship with Glasgow, a city I’ve lived in for more than 25 years. It’s about how I feel now about the increasing sense of urban decay and how the city can be a very isolating place. It’s about how I reflect on my younger creative self trying to find a direction but mainly feeling a sense of dislocation and not fitting in. And it’s about the questions I have about how that relationship is changing, how it will be forced to move forward.
The result is a soundtrack for walking home on your own, in that headphone bubble when it’s just you focusing on that music that makes sense to you alone. It’s for early in the morning, after the night before, or going to work with the memories of that slipping and sliding inside your head. It’s about how it feels to be both elated and lonely, to be lost in the familiar, despairingly hopeful.”

Domino introduce 'Devotion', the hugely
anticipated debut album from one of London's
most exciting underground talents, Tirzah.
Arriving on the back of a lauded run of releases on
Greco Roman, 'Devotion' shines a brilliant new
light on Tirzah's unique experimental pop,
exquisitely soulful voice and potent contemporary
lyricism.
Written and produced in collaboration with
longtime friend and collaborator Micachu,
'Devotion''s hallmarks are rooted in a fresh, raw
emotion and feeling.
CD and heavyweight black vinyl with digital
download code.

Radio Slave and Bushwacka! remix ‘Eye Of The Storm’ featuring vocalist and
drum ’n bass royalty Onallee, with label boss Archie Hamilton serving up a fresh VIP mix.

Taken from Hamilton’s debut album ‘Archive Fiction’, which dropped earlier this year on Moscow Records, ‘Eye Of The Storm’ featuring Reprazent artist Onallee, gets the remix treatment from two renowned producers with a reimagined garage inspired mix from the boss himself. Two acclaimed British artists, Rekids boss and esteemed remixer Radio Slave leads the release with Hamilton’s VIP mix alongside Olmeto and Plank Records owner and artist Bushwacka!

Radio Slave’s remix of ‘Eye Of The Storm feat. Onallee’ opens with a thundering kick, haunting effects, rolling vox-cuts and rattling hats with an ecstasy inducing breakdown. Archie Hamilton’s VIP mix then goes down a classic bubbling bassline route, featuring crunchy cymbals and phasing synths when Bushwacka! then goes on to close the release with break styled drum programming, rumbling toms, zapping flute like samples and jungle shakers on his remix.

Dead Air is Marconi Union's tenth studio album of a career that began in 2002.

Starting with the following year's Under Wires And Searchlights, they've created an explorative body of instrumental work that's shifted between electronica, dub, minimalism, avant-jazz and ambient music. Along the way they've collaborated with the likes of Jah Wobble, remixed Max Richter and Vök and provided soundtracks for art installations and other visual media. They've also had their own music remixed by Biosphere and Japan's Steve Jansen, among others.

The new album offers ample evidence of a band in its prime. Marconi Union still sound vital and original, enthused by the possibilities that music has to offer. "We've never wanted to repeat ourselves," states Talbot. "We've made ten albums and have been going for 17 years, but it still feels fresh. That's been so important for us all the way through. We're looking to do new things all the time" co-founder Richard Talbot says.

Indeed, the exquisite Dead Air bears only a passing resemblance to its 2016 forerunner, Ghost Stations. The trio have dispensed with beats, brass and guest musicians this time around, opting instead for a more intimate and textural approach, a constantly evolving soundworld of tones and sensory impressions.

Dead Air also bears little resemblance to the trio's initial vision for it. "The album we set out to make had far more of a rhythmic element," explains Talbot, " but fairly late in the process, we decided to completely change direction." This is entirely in keeping with Marconi Union's guiding methodology. Ideas remain fluid throughout the writing process, until Talbot and bandmates Jamie Crossley and Duncan Meadows ultimately settle on what feels right to them.

As such, Dead Air is a sublime testament to their collective instinct.

Elkka - the London based DJ, producer and founder of record label and DIY art collective femme culture - has announced her latest EP ‘Every Body Is Welcome’ on her imprint, following a very strong year constallated of live perfromances and DJ sets throughout Europe, and a growing radio presence in London and beyond.

‘Every Body Is Welcome’ will be released on 22nd of November. Smudging the boundaries between eras and styles, Elkka’s free-wheeling dance tracks float between club beats, earthy sounds, full of warmth, soft edges and lovely instrumentation which all lead to a completely captivating and blissful listen. The infectious new five-track EP looks set to further solidify her status as one of the artists changing the shape of dance music in 2019.

The EP kicks off with an acid-sounding dance thumper that elegantly moves along the piano melody, for a beautiful house start to the whole project. In typical Elkka style, the EP moves from the atmospheric, sun-soaked rhythms of ‘Compromise for What’ and ‘LVURSLF’ Interlude, to the more club-oriented, 4am nightscapes of ‘Avant Garde’ - ending with ‘Breathe’, the perfect union to these two different sides of her artistry in one elegant, thumping, soulful track.

‘Every Body Is Welcome’ was informed by Elkka’s own deeper understanding of who she is as an artist and what the dance floor means to her, claiming that “​Arriving in London in my early 20s I was a completely different person in every possible way and discovering club culture, the rave scene and queer spaces allowed me to explore myself fully as a woman and as queer person. For me, the dance floor has been a place where I have felt the most liberated, the most myself, unified with friends and strangers by the music and moment we are sharing. This EP is a celebration of those moments, of the dance floor, of dance music that has inspired me creatively and personally. Every Body Is Welcome symbolises what I hope the dance floor to be - a music utopia or haven, somewhere for everyone to feel safe to express themselves, to find themselves, to be whoever they want to be and feel part of a community of acceptance and tolerance. Idealistic? Yes but I think art should be a space to express idealism and where we hope to be.”

Her previous EP​ ‘​Full Circle​’​, released via femme culture, received acclaim and support from Annie Mac, Pete Tong, Tom Ravenscroft and Elkka was also named as one of the artists to watch in 2019 by ​Mixmag​. In addition, Elkka has garnered playlist and radio plays from acclaimed producers Four Tet, Floating Point’s and George Fitzgerald.

Elkka founded the femme culture label and collective in 2016 in response to the lack of support for womxn DJs, producer and artists, later teaming up with fellow DJ and creative Ludo who she now co-runs the platform with. Since then, the progressively minded collective have been swiftly gaining recognition with their boundary-free ethos that champions women, women-identifying, artists and the LGBTQ+ community whilst pushing forward-thinking music through their carefully, curated club nights and events.

Earlier this year they released their second label compilation ‘HeForShe x femme culture.’ Compiled in aid of the UN Women, the compilation featured fresh new sounds from the likes of Lone, Elkka herself, Martin Bootyspoon, India Jordan, Ouri, Nightwave and more - and earlier this summer they hosted their annual alternative Pride after-party ‘PROUD’, in which all the proceeds went to The Albert Kennedy Trust (a charity for homeless LGBTQ youthsworthy causes).

The band C.R.A.C. was formed in 1974 by bassist/vocalist Rick Cua, drummer Tommy Rozzano, keyboardist Larry Arlotta, and lead singer/percussionist Ricky Chisholm. Their name is an acronym for the founding members' last names. Playing mostly popular covers, the band's main gig was four nights a week at a Syracuse, NY club called Big Daddy's. It didn't take long before Big Daddy's was packed whenever C.R.A.C. was there.
As they gained popularity, a variety of opportunities presented themselves. Soon, they had enough new gigs to leave Big Daddy's and focus on their budding career.
Drawing inspiration from other bands in their genre, their passion for music, and the success of their first radio single, "Of The Lites," they continued to add to their repertoire of songs written by members of the band. Fresh off the high of their radio debut, they added two new members: guitarist Ronnie DeRollo and singer/percussionist Duane "Spoon" Walker. C.R.A.C., or as they became known at this time, CRAC, continued on their upward trajectory as one of New York's premier funk and R&B bands. The band continued to expand throughout the late 70's as their territory moved throughout New York and New England.
The busier the band got, the more their talent grew, and this afforded some members the honour of playing with such well-known artists as Maynard Ferguson, Melba Moore, Sea Level, Duke Jupiter, and The Outlaws.

Soundway have come to their last release of 2019, and they've saved the best till last.

Ft. a 12" single with both sides absolute dancefloor belters, think Latin disco meets parang soca from Barbados (original label from Trinidad/Tobago).

Both tracks - Colleen Grant "Latin Parang", and Sandra Hamilton "Parang Jam" - are not only highly sought after on vinyl, we are also officially reissuing both tracks officially for the first time on vinyl and digital since their original early 1980s releases.

Restored, remastered and sounding as fresh if not fresher than before! Attached are the sales notes, with salient details below.

180 grams / vinyl only

Minim Records sixth release brings you a debut EP from a young Ukrainian producer Grec. "Climacool" EP includes two original works that do magic to fuse the original sound of house and electro to bring dance floors to a frenzy, for those unique moments and uncompromised dj sets. Supporting the EP are two stunning remixes by Derek Carr with his timeless sound and TIJN giving it that fresh, groovy and deep sound.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

Rounding-off a landmark year for Clark which saw an accelerated drive for variety and freshness - including skewed renditions of Bach performed at the Royal Albert Hall and a hugely acclaimed score for TV series ‘Kiri’ - the leftfield legend takes it back to the source with two bangers for the massive.

The riff-powered heavy electrics of ‘Branding Problem’ romp from Detroit to Belgium via Chicago and the M25. It’s platinum-grade dancefloor techno, but it’s more too. The production flair and inventive sound sculpting ensure a level of quality and originality not found in your average grist-for-the-mill DJ fodder.

‘Legacy Pet’ is hardcore and tech step dipped in loopy juice; it’s the sound of a raver wandering out from a cavernous warehouse, across fields and into an enchanted dingily dell dance, throwing gun fingers with the goblins and faeries.

“I’ve been quite amused at how easy it is to stream background music these days. How accessible it all is and how entitled we all feel to it, like it’s some sort of air freshener you spray in your Uber.

For some reason I’m imagining a future where Elon Musk does a streaming deal, so he can prance around controlling nano implant VR chips for 1 million amortal coastal elites, while the rest of us don’t have electricity and only manage one rave a year - to a sound system powered by rationed candles. This is music for that fantasy scenario, ha.

Anyway, I don’t want these 2 tracks to be part of background air freshener world. They are limited edition club gear. I wanna play them out so badly in my live show.

Influences: Hardcore UK rave, Detroit techno, Jungle, Oizo, Ed Rush and Optical, No U-Turn. The origins, the source and it’s constant subsequent mutations. BEHOLD THE CONTINUUM, HARDCORE WILL NEVER DIE.” Clark

Matthias Vogt is back on Polytone with two strong original tracks, plus legendary producer Carl Finlow is adding his remix magic. The title track "Imaginary Friend" is an ode to Electro, with a hint of Pop and both: taking us back to the sound of the 80s, yet still sounding fresh and crisp. Carl Finlow's transforming Imaginary Friend into a sci-fi-something - it's out of this world. The B-Side is all about "Crevasse", a timeless beauty - we are in love with this Matthias Vogt trademark sound.

‘Still Strange’ reaches back into the prized loft tapes of Jeff Sharp aka Orior following the revelatory discovery of his overlooked early ‘80s gems on 2016’s ‘Strange Dream’ collection, as coaxed out by
DDS dons Miles Whittaker and Sean Canty.
Huddling another sublime, dusty set of analogue tapes freshly baked and remarkably well-restored by Andy Popplewell, ’Still Strange’ contains four gorgeous flashbacks to the era 1979-1983
surrounding and even pre-dating ‘Strange Beauty’, and then shifts focus to recordings that Orior made around the early ‘90s.
As with its predecessor, Orior is not alone on the material in ’Still Strange.’ From those feted early tapes we find Phil Hollis returning to lend jagged guitar on the drum machine sizzle of ‘Feels Like
Summer’, while the mysterious synth player New Cross John makes vital contribution to ‘Invium.’
Along with the aching synth sigh of ‘To Return’, which pre-dated all of these recordings, and the nine minutes of haunting bedsit strums in ‘Larbico Alt Mix’ which came from the first batch, the
early material is all arguably worth the price of admission alone for seekers of lost synth treasures - really this stuff is just so good..
However, the album’s other six tracks expand knowledge of Orior’s work into the ‘90s and also contain some extraordinary material. Salvaged from further loft tapes found in various states of degradation, and subsequently mixed down between London’s Goldsmiths College and Miles Whittaker’s Whalley Range attic (and elsewhere), they are decidedly more blunt and gloaming, especially in the Deathprod-like ‘Under Shadow’ and the near static witching hour ambience of ‘Endless’, while shorter vignettes such as ‘Unknown Future’, ‘Gothic’ and ‘Another’ point to pre-echoes of BoC’s crepuscular scapes and even Bladerunner-esque sci-fi noir soundscapes

The modern, avant synth/dance-pop frolics of ‘Moi’ catch Steven Warwick (Heatsick) at his impish but droll best for PAN. Returning to PAN six years after his standout Re-Engineering album,
Warwick returns to similar zones of enquiry as 2016’s ‘Nadir’ - the first release under his birth name. With ‘Moi’ (which we definitely hear enunciated with a playful pucker), Warwick further emphasises the personal, playful nature of his work with 10 melodic, danceable and pop-tart arrangements accompanied by a range of vocal personas; from his naturally droll singing voice to more alien and leaned-out styles, plus a guest platitude by Turner Prize nominee, Jo Pryde.
Bubbling up with the pickled 2-step and Lolina-esque lilt of ‘Open Fire Hydrant’, Warwick clearly draws upon a UK dance music heritage - and its Afro-Caribbean and US inspirations - with the
freshest, exceptional style that percolates throughout the album, strongly informing its biggest dancefloor highlights such as the warped trancehall bumps of ‘Salvation’ and the crooked crankshaft of ‘Kaleidoscope’, along with the the brittle boned shimmy of ‘Rush’ and the hard but elegant drive of ’Silhouette.’
But they’re only half the story, which really comes together with contrasts in the fizzy downstroke of ‘Kind of Blue’, on the Black Zone Myth Chant-like psychedelic daze and blunted vocals in
‘Consolatio’, and the album’s standout ‘Danke’, which revolves around Jo Pryde’s gentle utterance of the title weft into ominous ambient clag, connoting a sort of humility that knowingly becomes
both less and more meaningful with each reiteration

2x12", 180g

Keith Carnal's debut album on his own Second Degree imprint.

Club Internacional dig deep to launch their new global reissue series in style with two long lost cuts from Rio-based label Top Tape. First up is Jose da Silva aka Zeca Do Trombone.
A massively respected instrumentalist, he has worked his trade over the years with many of Brazil's leading artists such as Tim Maia, Milton Nascimento, Elizeth Cardoso, Beth Carvalo, Martino Da Vila, Gonzaguinha and Carlos Dafe amongst others.
He also produced a very much sought after LP in 1976 alongside Roberto Sax which was finally re-released this year on Mad About Records. Tema Do Brisa dates from a few years later in 1978 and is Zeca's only solo 45 single. Never released on digital and never reissued on vinyl before, it is with great pleasure that Club Internacional re-launch this psychedelic jazz and heavily funk influenced gem with its still stunningly fresh sounding drum patterns to a new generation of listeners. Fans of jazz, funk, rare groove and Brazilian music in general will appreciate the strong vibes of this original track and be delighted to finally have this record in their hands. The track represents a unique moment in the career of a great musician fully in control of his instrument and more than willing to test its musical boundaries. Zeca continues to play out as an artist regularly in Brasil right up to the present time.
On the flip side, Sambacanas, or Os Sambacanas as they were sometimes also known, were a group of Samba musicians recorded by the Sao Paulo based producer Julio Nagib.
Although they were mostly known for a samba covers LP entitled 'Sucessos Da Juventude Em Tempo De Samba' (re-released in the UK under the title 'Fly Me To Brazil'), this song, Panga, Danga, Panga, was the A side of their only 45 single release for Top Tape which came out in 1976. Again this track has never been re-released before in its 45 single version, and has not been made available digitally. A beautiful example of raw and simple Batucada-style Brazilian samba music infused with Latin funk vibes, it features excellent vocals and percussion including the berimbau and cuica. Club Internacional hopes you enjoy this journey back to rediscover these very different, but wonderful, long lost sounds of Brazil on this limited edition vinyl 45 pressing to add to your record collection. Each Club Internacional edition may take some time, but it will be worth the wait!

(180 Vinyl LP) With their authentic formula - jazz musicians in a Jamaican-wise context - Jamaican Jazz Orchestra come with a second album that feels like a fresh dive in the lake on a humid tropical day. High quality musicianship and clever compositions recorded analog on tape, guided by producer Tom Callens (Lady Linn, Lester's Blues, South of the Border, Tiny Legs Tim)...

Hailing from one of the world’s most famous harbours, Rotterdam, a true multicultural melting-pot, the music by 6-piece band called the Greyheads mirrors the daily life of this busy city. They approach jazz from a hip-hop point of view, or hip-hop from a jazz point of view, always carefully adding a perfect dose of other influences (all the members are heavily influenced by artists like Miles Davis, J Dilla, Herbie Hancock and Robert Glasper) with an exciting, groovy and vibrant tone.

After having self-released their debut EP "GREYHEADS × KYTOPIA" in 2017, they recently finished recording "HOMES", their first full length album.

Led by drummer Nello Biasini, this truly international band of like minded musicians was formed in 2016 and have since been busy creating their own, fresh and unique sound. Whether an intimate jazz club or the main stage of a big festival, they are all about creating a feel-good groovy vibe using live rlectronics, drum 'n bass, jazz, hip hop and pop fused together.

GreyHeads performed at NN North Sea Jazz 2019 and several other festivals such as So What's Next Festival, Jazz Delft Festival, Cutting Edge, ProJazz, Big Rivers Festival, as well as opening for the bands Moonchild and Knower.

'Homes' is a journey through space and time, travelling in opposite but jointed paths that lead to the places we call home. The concept of the record is to carry the listener to experience what every place and time can in any way, represent home, characterized by different atmospheres, sounds, images and sensations.

Nuova Musica Ostinata is the new Ep by Nordic/Mediterranean duo N.M.O.

This new Ep follows the N.M.O. heritage of merging acoustic drums with synthetic sounds in their self-called Military Space Music, as heard on past releases on labels such as Diagonal,The Death Of Rave and Anòmia, exploring fresh and undiscovered territories.

All three tracks are a lysergic caleidoscope of sound collage, dancehall, militaristic marches and kuduro, in a playful superimposition of patterns at 160 bpm and 128 bpm at the same time.

Nuova Musica Ostinata does exactly what it promises in its title, going head down into new directions, where white galleries and dark sweaty dancefloors coincide.

“Berceuse Heroique is very proud to announce that one of our biggest heroes is going to be our next release for this year. Pinch, one of the seminal members of the Bristol scene, is kickstarting a trilogy of 12"s that we call "an ode to sound system culture", trying to invoke the long lost spirits of pure, heavyweight, hardcore hedonism that stems from a lot of sub genres of British dance music culture. Border Control fuses the industrial aesthetics of Birmingham techno and the jungle techno pressure of the early 90's and in the end it sounds like a fight anthem against Brexit. Fortune Teller will test any soundsystem with that Dillinja-esque bassline and Loose Cables could easily be the younger brother of one of Pinch's most underrated tunes, The Attack Of The Killer Robot Spiders. Pinch runs the voodoo down one more time and he sounds pissed off and more fresh than ever.”

Stroboscopic Artefacts releases ‘X – Ten Years Of Artefacts’, a 13-track album curated by Lucy, the nom de techno of Luca Mortellaro. It celebrates ten years of his label by boldly confirming its raison d’être: a continual redefinition of modern techno.

‘X – Ten Years Of Artefacts’ is a various artists album in which the label’s key artists respond to its tenth anniversary with fresh compositions. Artists with divergent perspectives and MOs are equally at home expressing themselves. These tracks’ timbres, tempos and moods differ greatly yet—somewhat improbably—they seem together, ideologically unified.

The album will be later complemented by a special remixes EP, with four new reworks of pivotal back catalogue material from the label (Donato Dozzy, Caterina Barbieri, Xhin and Klock). And from fall 2019, Lucy and an incredible cast of Stroboscopic Artefacts artists will begin an extended club tour to mark the anniversary.

On ‘X – Ten Years Of Artefacts’, Mortellaro features solo as Lucy, in collaboration with Rrose as Lotus Eater and together with Speedy J as Zeitgeber. (Rrose also appears alone with “The Myth of Purity.”) Shifted, Efdemin, L.B. Dub Corp (Luke Slater), James Ruskin, Denise Rabe, Adriana Lopez, Chevel, Alessandro Adriani and Serena Butler each feature, representing a group of singular artists whose relationships with the label range from years to months—Stroboscopic Artefacts’ past, present and future must exist simultaneously.

Back in September 2009, Lucy released “Why Don’t You Change/Dub Man Walking,” the first record from Stroboscopic Artefacts, which began a discography that, ten years later, is almost unparalleled in its ambition and vision. Put simply, Mortellaro wanted to create something that didn’t exist. Stroboscopic Artefacts would be respectful of, and indebted to, the great techno and electronic music artists of the past but would develop new paths forward for the label and the genre. The label refused to perpetuate the established dichotomies of electronic music — between the dance floor and home listening, between club music and experimental music, between the past and the future. It took risks knowing it wouldn’t always work. But within a year or so of the label’s inception, it was obvious Stroboscopic Artefacts’ approach had captured imaginations far beyond its Berlin base, showing us that the boundaries of techno are often constructs of limited imagination.

The label pursued constantly evolving methods of releasing music. It created concept-driven series like Monad, Stellate and Totem, establishing frameworks that would give freedom in limitation. Standout albums by Lucy, Xhin, Dadub, Zeitgeber, Chevel, Kangding Ray, Lotus Eater and Alessandro Adriani were deeply considered longform presentations.

With this new album, remix EP and tour, now is the moment for Stroboscopic Artefacts to look fondly at its past while drawing breath, reenergised, and hinting at new chapters.

TXLAX is Dave Aju’s first album in five years, and we couldn’t be more pleased to present it.

As always there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focussed aesthetic - a fitting personal soundtrack for the homecom-ing theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest.

There is a sonic stylistic bridge of sorts between the sister cities on display as well, all im-bued with that inimitable combination of raw playfulness and warm refined soul as only Dave Aju does.

From the soaring West Coast future funk opener “Bird’s Eye”, the nautical disco-not-disco of tomorrow in “Out To C” and the bugged-out broken beat flavor of “Silverfish” to the slick me-lodic electro vibes of the title track, and gorgeous shuffling deep house closer “Yulia”, TXLAX is a masterwork filled with beauty, character, and detail that will reward many repeat listens. We hope you enjoy it as much as we do!

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

“This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”

On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

“This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”

The newly-formed Icelandic record label LAHAR brings you a long-awaited 12" by Den Nard Husher, a collaboration of two stalwarts within the Icelandic techno scene - Octal Industries & Vector.
After a commemorative EP on Stobelight Network in 2016, Den Nard Husher strikes back with their first release since a 20-year production hiatus. It is enthralling to see how their fast-paced bustling techno renditions morph with time yet still encapsulate our body and imagination in that same meteoric signature.
Den Nard Husher sounds fresh, blistering in a seemingly never-ending post-Y2K aesthetics.

It might sound far fetched but here goes: Circadian Rhythms aka Dj Deg brought techno to Belgium before anyone was ready for it. The 1990s collective “Bad Woofers Posse” formed with lifelong friend Mike DMA and their “PK” warehouse parties served as fertile ground for the young producer.
Steeped in this new atmosphere, Deg locked himself up in his bedroom studio at his parents’ place and started developing his interpretation of the freshly imported techno/house sound. In the Belgian way. Combining emotional synth play with neck-breaking drum patterns, sequenced like dreams forever chasing the climax.

BM11 collects six unreleased takes from this almost forgotten period (1989 – 1994).

Adapted Vinyl was a UK based techno label active in the late 90’s that picked up regular DJ support from taste makers of the time ranging from Jeff Mills to Mr C.

This, the label’s 7th record disappeared before a public release when the Integrale Muzique distribution company went out of business in 2008, but now gets its first official release date after years of very limited availability

Label founder Suade is the artist behind this release and these days he is best known as a highly-sought-after mastering engineer working for artists like Dense & Pika, Paranoid London, Jamie Jones and Vitalic.

Focusing his energies into family life and the fine tuning of other peoples music it’s rare to see Suade’s own music on a new release, but this hasn’t stopped him from collaborating on original tracks with the likes of Magda and Radioactive Man in recent years.

The EP has four contrasting tracks all with different moods and tempos all blended with Techno’s classic motoric drive.

With it’s absence from the usual music marketplaces creating something of a mystery this record ended up receiving a new, unofficial name on Discogs - The Citadel EP which is a title taken from the broken-beat second track on the B side of the record.

The Citadel is just one of the highlights on this eclectic EP, as it’s a Latronic Notron sequencer workout that patiently deploys layered synths in ever-shifting cross-rhythms for a languid 5 minutes before its deep, underpinning bass arrives evoking desert travel and arrival.

Baikal, named after the huge freshwater lake in Russia, is another stretched out meditation on tone and harmony acting as a foil to the delicate and vibrant Latin American percussion that filters in and out through a massive stereo Moog Modular system creating an energetic yet static, ritualistic atmosphere.

Trajan - the most driving track on the EP, gives a nod to the Probe era Richie Hawtin sound with a touch of Drexciyan melodics with shuffled percussion and bleeps over a snaking TB303 shaped bassline where the classic Acid box is given the role of control sequencer only commanding the thick, dirty oscillators of the big Moog.

A1 track Felix is a contrast yet again. A big room melodic Techno piece with another massive bassline and an almost orchestral level of layering, building to nine counter-melodies in total before letting rip with a classic TB303 acid line that builds from the heart of the track.

"A work of searching, and in many moments, finding"

Maggie Thornton as Sky Civilian is set to release her second EP this November on Atomnation: At the Seams. It's a stepping stone, from the lyrical, gentle, genre-agnostic electronica of Open Door, to Maggie’s own rounded and angelic take on acid-house.

Maggie’s cinematic, synth-heavy style emerged after a decade of orchestral French horn playing and classical studies. She combines this brass-inspired, synth-forward approach with her weightless, almost-whispered vocals, and dance-floor ready beats. The melding of influences present in her work make Maggie a fresh and promising new artist in the electronic music scene, an artist we hope to hear more from for many years to come.

This is some serious top shelf material out of Baltimore and a certified masterclass in sweet symphonic soul. Optimistics was originally released in 1970 on Turbo and it’s every bit as essential as The Chi-Lites, The Delfonics and The Moments yet nowhere near as known. Those original copies are ridiculously rare and, of course, the prices are equally ridiculous.

Optimistics is a killer LP throughout, beloved of discerning hip-hop producers worldwide and routinely championed by the legendary Pete Rock. The genius George Kerr has handled the production on what is an album of beautiful, naïve soul for mind and body. It’s bursting with goodness and, like the best of its genre, it radiates a heart-breaking ambience that cuts right to the core.

The band of Billy, Harold, James, Charles and Jerome are described on the back cover as “five young, black knights who have embarked on a musical crusade and they're gonna slay a lot of dragons along the way”. We’re not entirely sure how many mythical serpents were dispatched during the making of this album but we can certainly attest to the sense of evangelical drive.

Evergreen opener “You Put Something New In My Life” is a heart-stopping ode to a transformative love. A ballad with spine-tingling chord changes and melodic switch-ups to spare, its sweeping strings and precise drums complement the falsetto delivery perfectly.

It’s followed by the equally beguiling “Let’s Love”. Another string-drenched harmony ballad, it revolves around delicate piano and distinctive guitar lines, crying out to be recontextualised by the best sampling technicians. Closing out the A side, the wonderfully restrained “Love Is God Almighty” is harp and horn-driven, barely-there soul from a higher plain. Heavenly.

Ushering in the flipside, “Should I Let Myself Go”, sampled recently by Knxwledge, is sensational guitar-soul with a yearning that could bring the most hardened soul to tears. It’s followed by the uptempo, Temptations-funk of “Man” and quietly-great “If I Could Influence Man”, where the competing vocals ride a chugging, funky breakbeat and delicious guitar licks. The refreshing, groovy “Say It Baby” is an appropriately positive, upward looking closer. Its sentiment and feel speaks directly to both the band name and the title of this, their only album. Truly optimistic.

The whole LP is a winning blend of slow, spine-tingling ballads and joyously upbeat tracks. It’s a case of A+ vocals, melodies and harmonies over beautiful playing and arrangements. It deserves to be canonical.

This fresh reissue has been mastered with the usual care by Simon Francis and cut by the legendary Pete Norman. The artwork has been lovingly reproduced by the Be With team.

Optimistics should be known to a much wider audience. We’ve hopefully gone some way towards rectifying that.

Funky soul-jazz organist Caesar Frazier crafted superior Hammond funk. 75, his second LP, is a rare gem. It’s comfortably his greatest artistic statement.

The follow-up to Hail Ceasar!, it’s a taut, grooving set that expands his sound and, put simply, it’s got better songs. The key elements of his debut album are all there – production from maestro Bob Porter, accompaniment from hip players (Bernard “Pretty” Purdie, Cornell Dupree, John Tropea) and arrangement from Horace Ott - but the overall sound is elevated. The tightly jamming, expressive jazz-funk makes for a richer, fuller, more satisfying experience.

75 is a mixture of hard-driving originals, deeply beautiful slower numbers to vary the tempo and a couple of classy covers. The crazy bombastic “Mighty Mouse” - a riot of horns, organ and in the pocket drums - became an acid jazz classic at Dingwalls and it’s easy to see (hear?) how. A blissed out, lushly instrumental take on Seals and Crofts’s “Summer Breeze” follows, perfect for those sunshine sets.

Side A closes with the heavenly “Sweet Children”. A loping, funky jazz masterpiece famously sampled by Kanye West for Common’s “Real People” from Be. It opens beautifully, with soaring sax and a funky horn section combining with weightless keyboard tones atop snapping drums. Unsurprisingly, the excellence endures right through to the end.

The B side opens with perhaps the album’s most famous track. "Funk It Down” contains the familiar “I can feel the funk” vocal refrain throughout. But it’s the gorgeous, insouciant bridge that you should all know and love, having been used as the hook for Gang Starr’s “Ex-Girl To Next Girl”. A great cover of Stevie Wonder's “Living for the City” comes next, with an unforgettable bass-line which anchors the entire heavy rhythm section workout. Dizzying organ, triumphant horns and sun-dappled guitar grooves combine to create “Walking On The Side”, rounding out a pretty smoking set.

This is one of those rare 70s funk-soul-jazz LPs on which a bad track cannot be found. It’s all essential. So of course finding original copies on vinyl at affordable prices has been tough for years.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with painstakingly reproduced artwork by the Be With team, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..
Here though we see the focus on the core family as well as some new additions, celebrating the artists involved over the past five years and looking towards the future with some fresh, hotly tipped acts.

For the fourth installment in the series the label welcome’s Berlin’s queen of House Cinthie onto its roster with ‘6am’, as the name would suggest a heads down, emotive slice of House aimed at those special moments in the early hours of the dance floor, fusing a robust analogue drum workout with bright strings, jazzy piano lines and driving low-end.

Akiko Kiyama’s ‘Dirt Specks’ follows, a typically unique offering from the Tokyo based experimentalist, built around swirling bass notes, hypnotising processed vocals and glitched out percussion before label co-founder Red Pig Flower’s ‘Mental Adventure’ brings eastern-tinged plucked strings and vacillating atmospherics into the limelight alongside rounded subs and a bumpy rhythmic drive to create a smooth, hypnotic trip.

Dutch Techno master Orlando Voorn has opened up his archive for the second essential instalment of an ongoing artist focused series brought to you by new imprint Above Board Projects. The compilation will be spread across 2 double 12" volumes and will feature tracks from many of Voorn's pseudonyms including; Fix, Baruka, The Ghetto Brothers, Mute & many more. We are proud to introduce the first of a 2-part archival collection entitled 'Diligence'. Each track featured on the compilation has been carefully selected and programmed in conjunction with Orlando Voorn and the Above Board Projects team. Voorn has an extremely long and storied career in making music and is severely underrated as a producer in our humble opinion. His DJ skills are, of course, legendary, with him winning the prestigious DMC mixing championships in 1986 in his native Holland and making a career as one of the country's leading Hip-Hop DJ's. As a producer he has long been linked to numerous legendary producers and releases, counting labels such as Fragile, Metroplex and more as homes for his output. His association and collaborations with Detroit have been the stuff of legend since day one and some of the music contained within these compilations celebrate that while showcasing some of the more overlooked tracks from the man's more than extensive catalogue. Part 2 opens with the minimalistic bladerunner Techno of Voorn & Juan Atkins' Infiniti classic 'Game One', a true modern classic, also featured is the rolling, paranoia inducing late night groove of 'Dream World' from one of Voorn's more obscure projects Complex, all showcasing a wide variety of styles and sounds. Flawless selections from the early 90's sitting alongside later productions only go to show how diverse and talented an artist Voorn is and how fresh and vital his music still is today. An essential collection for any serious techno lover. All tracks fully licensed and remastered with the full permission of Orlando Voorn. Remastering and lacquers by Curvepusher. Compiled and directed by the Above Board Projects team. Design and layout by atelier Superplus. 2019.

Captivity is the next highly anticipated extended EP by Kush Arora aka Only Now, following a triptych of self-released output in 2019. Continuing the project’s ever evolving engagement with themes of time and existence, Captivity encompasses versatile synthesis, mutant kuduro, widescreen sound design, turbulent cold fronts of power ambient and melodic undertones of black metal.

The product of a two-year period in which Arora was contending with transitional shifts in his personal life, Captivity is a culmination of what the project has explored both in a prolific run of recent material and as a whole, across several years of time dilating, mind altering music.
 
Although shaped by adversity and corresponding sentiments of angst and insignificance, Captivity is pitched at total transcendence. Adopting a meticulous approach to production, a methodology which opens up almost every element to transformation and deconstruction, Arora generates forms which possess a sense of pointillist precision, as well as a keen psychedelic potency.
 
Despite consistency with his earlier output as Only Now, Captivity is nevertheless an indication of Arora’s ability to challenge internal and external assumptions. The introduction of new hardware – namely, the Nord Drum 3P synthesizer – as well as the incorporation of far-flung atmospherics – closing track ‘Clock Lust’ features field recordings from a trip to Kyoto – delivers fresh enterprise and experimentation, contributing to the expansion of a sound signature which remains as unpredictable and compelling as ever.
 
With the eponymous opener, Arora combines fathomless underworlds and riotous breakbeats. On ‘Mutants’ a hyper-kinetic onslaught of percussion, low-end and stray cut-ups of noise break out, building to a panorama of thunderous industrial firmaments. ‘Perpetual Slaughter’ maintains momentum with icy, ricocheting FX and concussive, tribal drums, and then unexpectedly shifts into a poignant outro which brings to the fore the enduring influence of black metal on the project. ‘Bound 2’ is cut with relentless sub-bass and rapid syncopation, resembling an abstracted form of juke music, something that could feasibly have been masterminded by Autechre. With the LP’s finale, ‘Clock Lust’, Arora presents a finale of transfixing 3D ritualism, the lone toll of a bell ringing out into a mesmeric emptiness.
 
Together these form a complete statement from Arora, illustrating the fertile and open-ended territories the Only Now project has arrived at after promising outings on Infinite Machine and Discrepant imprint Sucata Tapes. With Captivity Arora delivers a substantial highpoint and a profound voyage into the world of Only Now.

* Emika releases a remix EP of her 6th studio album ‘Falling In Love With Sadness’, (Originally released on World Mental Health Day Oct 2018)
* The remix EP explores 4 sound worlds in electronic music today. Experimental bass music, hypnotic & dark techno, and electro.
About the remixers:
* Pinch, a pioneer of UK bass-driven music, is considered to be one of the most groundbreaking, explorative producers to emerge from the UK dubstep scene.
* Rising techno star Julia Govor is an artist doing things differently, paving her own way with her own label, receiving recognition from the global dance music scene.
* Rebekah needs no introduction, pioneering her own intense sound, now entering her 20th year in the business, she is a serious artist with some seriously heavy vibes.
* Underground Berlin talent Headless Horseman, all though shrouded in mystery, is in high demand world-wide to perform his unique live sets at some of the biggest clubs and festivals.
* Emika produced original album material with cult electro icon The Exaltics.
* Solid remixes from solid underground artists.
About the remixes:
* Pinch creates a seductive environment for a scene from which could have been from David Fincher's Fight Club, one which threatens to overload at any given time, but retains tension until the end.
* Julia’s mix transports us into the next part of our journey, beyond conflict and tension, she gives us the chance to breathe, open up, be free and to dance.
* Rebekah's remix brings us hurtling back down to Earth at a tremendous pace, with crystal clear drums that wake up the soul and synths that energize the mind, this version is more than a dark techno track, it has the spirit of a self-confident grown woman running through it.
* Headless Horseman brings Emika’s original into a beautiful new song space, revoicing the harmony and finding completely fresh chords and backing.

* The artwork hits the mark with a message important for Emika: Equality. With 3 female artists and 3 male artists all featured on the cover, this is a way in which Emika highlights her love for collaboration and sharing of the spot-light.
* Green coloured vinyl (1st edition) 500 copies pressed..

‘’We are moving into a new century where collaboration is going to bring music forwards and exclusivity is going to become a thing of the past.’’ - Emika

Soulful alert : the Mochi Men (Young Pulse & ATN) meets Brooklyn Funk Essentials, reviving a forgotten Franckie Knuckles gem in the best garage tradition ! After successfuly remixing on wax the new UK jazz funk sensation Resolution 88 and the top french
latin funk act Setenta, the french & fresh duet, Mochi Men, got the honors to work with the legendary acid jazz band, Brooklyn Funk Essentials. This 3rd release on Mochi Records, « Watcha
want from me », is a song formely co-written by House music icon Franckie Knuckles and Lati Kronlund of BFE, which has been re-recorded for the band latest album « Stay good ». Now given the Mochi treatment, the result is an epic and uplifting piece of authentic soulful house, promised to be a timeless club anthem, embellished with an extra Young Pulse dub track !

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

Italy meets Miami via Holland - A truly international and classic feel all over this latest essential release from high Fashion music!
Disco powerhouse Moplen takes on this true-blue Disco classic from the legendary TK crates and turns in 2 brilliant and fresh reworkings of T-Connection's anthemic 'Do What You Wanna Do'. The A-side 'extended vocal mix' is a killer new version of this now cult record, as always Moplen's deft touch is felt in the tidy rearrangements and respectful tweaks, don't get it twisted though, this is prime-time dancefloor dynamite, it twists and turns in all the right places and still sounds huge. This new version and mix breathes some new life into this cut, a surefire inclusion in any DJ's bag for the next 30 years for sure. Don't forget, on the B-side, there's the mammoth 'Rollercoaster Dub', again Moplen steps up the heat on this version, it's exactly what you think it is, just under 9 minutes of dubbed-out T-Connection chaos, making this 12" a 'do not miss' release.

Fresh from releasing his first artist album for Deep Medi (‘Dark 365’) and overseeing a prolific year in charge of his Navy Cut imprint, J. Sparrow debuts on Coyote Records with two tracks of abstract, excursive pressure. Although long revered as one of dubstep’s core UK innovators, Sparrow has also spent time experimenting with different sounds, palettes and rhythms over the last two years. ‘Single Time’ and ‘VHS’, both written during this period, not only spotlight Sparrow’s willingness to aim for the outer reaches, but also embed themselves neatly within a Coyotediscography defined by the new-gen grime of producers like Last Japan, SilkRoad Assassins and Utah?. Still cut with a rolling dubstep lean, A-side ‘Single Time’ is heavy on the hollowed-out, dubby weight and scything bass jabs, while B-side ‘VHS’ – referred to by Sparrow himself as ‘Egyptian grime in the 1980s’ – is a bleepy, filmic, widescreen stepper that draws from the past as much as it does Sparrow’s take on shiny, sci-fi grime of the future.