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It's fair to say Malta's Sound Synthesis is associated with spacey, acid-flecked electro. But here, on his first album for Gated, a deep vein of old-school influenced breaks comes to the fore.

The infectious acid lines are ever-present - the hands-in-the-air breakdowns, the rolling basslines - but this is a different side to Keith Farrugia's prolific output that brings in influences from ambient to downtempo to bassbin-worrying bangers.

Take opener Ambient Talk, which kicks into life with skittish drums, or the woozy vocal-led All Night, which makes sharp use of the Amen break, as does album highlight 90s Chords.

Yes there are classic Sound Synthesis melodies throughout these nine tracks, but there's also a darker side, exemplified by the aptly-named 140BPMadness, which showcases Farrugia at his most ferocious.

Fresh Tunez are back and doing exactly what they say on the tin, i.e serving up fresh beats for us all. A:G delivers us an ice cold hitting 4 tracker that slaps you left & right across the dance-floor like you have been hit by a blizzard. Norwegian dance-floor mastery in full effect. From the sunny A1(the only sun we'll get in Berlin this winter) to the more driving sounds of A2 to B2 that will make sure you get up and stay moving to dance some warmth into your body until summer comes!

Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab. Born Edmond Gregory, as he was known before he adopted the Muslim faith in 1946, Sahib Shihab's music background shows a deep and significant evolution, influenced by Thelonious Monk, Dizzie Gillespie (his experience in Dizzie's band marked Sahib's switch to Baritone, the instrument he became most readily associated with), and above all by Charlie Parker's Bop. Had it not been for the post-war migration of many top American jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never come into existence. Sahib, one of this musicians disillusioned with the politics and racism of the United States, accepted to join the band of Quincy Jones for an European tour in 1959. When the tour ended, Shihab he remained in Europe where he joined, in 1961, the Clarke-Boland Big Band. The collection 'Companionship', whose line up consists of seven elements which derives from this original band, spotlights the consummate musicianship and individuality of Sahib Shihab and is testimony to his special musical gifts - not only as a top-rank flautist and baritone saxophone but also as a composer. Furthermore, it provides a welcome reminder of the high quality of the Clarke-Boland Big Band's rhythm section, the lively style of vibraphonist Fats Sadi and the power and personality of two of the C-BBB's horn-playing stalwarts, Benny Bailey and Ake Persson. Here's a real rarity, surely a desert island disc. This double album has it all from frantic banging percussive workouts to modal numbers to beautiful ballads. It's a staggeringly good piece of music and worth every penny of the price tag it commands. Let's have a look to the most significant pieces. Francy Boland's "Om Mani Padme Hum", taken from a Tibetan prayer, shows Shihab in exuberant mood, playing against a vigorous percussion background and making dramatic use of his special technique of combining voice and flute. Boland contributes an incisive, effervescent solo. "Bohemia After Dark", a classic original by bassist Oscar Pettiford which he first recorded back in August 1955, finds Shihab in exultant form on baritone. "Companionship" has a Bossa Nova beat and features Bailey on flugelhorn and Shihab on flute, playing with a limpid, floating sound. Bailey's minor-key original, "Stoned Ghosts" was, he says, inspired by listening to some music written by Bela Bartok before he emigrated to the United States. The piece has an infectious back-beat pulse and showcases the superb walking technique of Jimmy Woode. In "Con Alma" Shihab's mellow flute set against a churning 12/8 beat in this stylish Boland arrangement. Woode's performance of the superb Mei Torme ballad, "Born To Be Blue", reveals his great affection for the song. "lt is the perfect combination," he says, "a beautiful melody married to a great lyric. I really love that tune." It is a song of rueful resignation, putting a brave face on the blues. "Balafon" is an up-tempo Francy Boland original written for the French mime artist, Marcel Marceau. The rhythm section really cooks on this track with Kenny Clarke's cymbal work outstanding. Boland's solo here is notable for its neat, left hand punctuations. "Calypso Blues" has been written by Nat King Cole and Don George. lt tells the wry and wistful tale of a Trinidadian in New York desperately homesick for the land where everything 5 so much cheaper (in New York "a dollar buy, a cup of coffee and a ham on rye") and the girls more natural than the artificial, painted beauties of New York. Woode's composition, "Sconsolato" is a haunting theme in A minor and it brings to a close a truly fascinating album. This is dynamic music played with vigour, verve and vitality - and it is an enormous pleasure to rediscover it. A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.

'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.

'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.

'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.

'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.

This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.

Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.

The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.

Meiosistosis is a unique and creative descriptive innerstanding created by DemoDc taken from the scientific terminology of Mitosis - a splitting of one cell to create 2 identical cells and Meiosis - a splitting of 1 cell to create 4 very unique cells. Combining these 2 findings to create its own unique expression of what Demo feels earth herself is potentially going through in what most humans refer to as 'crazy mad' times.

‘Call me mad or crazy yet my artistic take on all this madness of change, coming from a more spiritual aware perspective, I feel its very possible and plausible that earth herself is shifting from an energetical vibrational frequency resonance, shifting from a lower to a higher frequency that has souls who inhabit at this present time on Earth, have choices made available to either shift to these higher frequencies of perception or to chose to remain in the lower frequencies of perception’

….says Demo when explaining the meaning of the titles chosen for his brand new releases. Hence, from this perspective it would give more purpose and meaning with the Earth splitting itself from 1 earth into 2 with the merging of it being identical and unique all at once.

True or not, through creative expression can we all individually make sense in our own rights, which then gives more power to the inner-standing of what co-creating with any greater power outside of ourselves, is. Each track holds its own unique expression to what has been described here and of course gives each listener a chance to give meaning to what is embraced in their own connection made when absorbed in the creations these ep's offer.

The debut studio album from multi-platinum singer RAYE. Featuring number one single Escapism feat. 070 Shake.

Four times BRIT nominated, RAYE is one of the most streamed artists in the world with over
2.3 billion streams of her music. She has a double-platinum, four platinum, two gold and
three silver singles to her name. She is also indisputably one of the UK's premier
songwriters. Her songs have amassed over 3 billion streams, having written for some of the
world’s biggest artists including: John Legend, Ellie Goulding, Khalid, David Guetta, Diplo,
and Beyonce. In 2019 she was awarded The BMI Impact Award in recognition of her 'groundbreaking artistry, creative vision and impact on the future of music, in 2022 she was
nominated for the Ivors Songwriter of the year, landed R1 Brits List and made her debut solo
TV performance on Jools Holland. During the summer of 2021, her cries of frustration for not being able to release her album were heard worldwide, leading to a mutual separation from her label and allowing her to
carve her own path. Having made her public tirade, followed by her personal 'declaration of
independence', Raye in effect has obligated herself to deliver the ground-breaking first
album that her 2019 BMI award prophesied.

One thing that is written in stone even in these days of near endless uncertainty is that when Topical Disco unleashes one of their vinyl releases they are a no questions asked, must have. For a label which regularly dominates the top spot of the download charts they still consistently manage to up the ante for their vinyl drops. It’s no wonder at all that the previous editions have gone on to become collector’s editions, disappearing from the shelves as quickly as you can say here today, gone tomorrow.

Volume 24 easily keeps this incredible run of club vinyl masterpieces going strong. Packed across two side of black gold are tracks from newcomers and scene heavy hitters alike Toscana, Toby O’Conner, Charly Angelz and Frank Virgilio.

The mysterious Toscana leads the way with the wonderfully enigmatic ‘The Girl With The Red Hair’, a six and a half minute slice of pleasure packed Balearic disco. Incessant, warm and inviting it combines a divine groove heavy bassline, funky guitar licks and a subtle percussive backbone with a rather brilliant stand-out guitar solo. This is a track which is guaranteed to fill those summer dancefloors.

Next up is Toby O’Conner who is returning to Tropical Disco after his lauded ‘The Heist / 1920 EP’ with another high energy slice of disco goodness in the shape of ‘Cave Of Gold’. Again this is classic Tropical Disco, combing both live chops with jazz overtones as throbbing club ready drums provide the framework for a bubbling bassline, subtle keys and sax solo’s aplenty to weave their magic. Expect jazz inspired shapes to be thrown on dancefloors across the globe when this one drops.

Over on the flip is Charly Angelz, another artist who has been making a considerable swirl on the disco scene of late. ‘Mother Phunk’ is very aptly named with an absolute gem of a bassline front and centre as classic funk vocal chops, vibey pads and guitar stabs all combine perfectly with earworm strings for anther sure fire floor filler.

Closing the EP out is scene stalwart Frank Virgilio. Hailing from Napoli Frank has been behind a virtual disco smorgasbord over the five years including regular chart bothering appearances on Tropical disco. ‘What We Love’ tips its hat to the golden era of house music, think 90’s Soulfuric meets MAW. Vibes abound here from the classic drum sounds right through to the divine ethereal percussion which adds that touch of class. This is another track which will sound just perfect on the golden Isle this coming summer, did some-one say Ibizan boat party? We’re onboard!

Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.

In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.

Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.

Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.

Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.

Cultivated Electronics presents For The Floor, a new series of split 12s on its vinyl-only sister label CE LTD. For the Floor is strictly aimed at the dance floor and showcases CE regulars alongside new artists with EPs incoming from DeFeKT, Rico Casazza, Tripeo, Cycloplex, Steve Allman, Alex Jann, Cyphon, Obzerv, Maelstrom and Sync 24 x Alienata. Hot on the heels of his latest release on the mighty Tresor, Irish Electro king and CE regular DeFeKT kicks off the series with 2 dancefloor destroyers. "Control Your Mind" rips through with harsh distorted 808s and booming vocals while "Fear and Body" is a spooky, funky electro groover perfect for dark basements. On the flip, CE welcomes back Rico Casazza to the label. Rico continues the electro funk vibes with "Home Here Us", slick beats and a bubbly bass line lay down the backbone of this peak time banger. Things then go deep and trippy and acidic with "Caldo" , a rolling robotic groove made for the club!

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

Repress incoming...

Number 94 in the Brazil45 series is one for the Brazilian boogie lovers out there.

The vocal and instrumental group Os Carbonos from São Paulo had a long career that straddled the 60s, 70s and 80s. 'Pássaro Selvagem' is taken from the latter years of their career. Its a bass driven, boogie-funk groove (with a bassline not too dissimilar to Queen 'Another One Bites The Dust') that is Brazilian boogie at its finest. Taken from the B-side to a 7" campacto released in 1981 on Copacabana records, its proven to be a favourite of Luke Una and we foresee it becoming a staple in your DJ box for years to come too.

The B-side comes from one of our all-time favourite artists, the mighty Sandra Sa. Sandra is a wonderful vocalist, her intense and recognisable style is one of THE voices of the Brazilian boogie golden era. Check out her classic album 'Vale Tudo' (MRBLP230) on Mr Bongo for further proof of her credentials here. 'Palco Azul' is also taken off a 7" single from 1981 and is a feel-good dancefloor groover with punchy brass stabs, warm keys and uplifting chord changes. It contains all the right elements that we have come to associate with that knockout late 70s / early 80s Brazilian sound.

reissue with original artwork!

Todd Terje's 2012 EP It's the Arps rumbled the floors of warehouse parties and hedonistic sleepovers alike with lead single 'Inspector Norse' leading the vanguard of electro fun.


Please welcome: It's The Arps! Oslo's magic music maker Todd Terje has already gained a wunderkind like reputation for his gentle yet potent productions (we won't mention the 'E' word here) on labels like Full Pupp, Permanent Vacation and Running Back on top of being one of the best remixers money can buy (Shit Robot, Bryan Ferry, Dølle Jllle etc etc). What is there left for him to do Establish a label of his own! 'It's The Arps' is the starting signal for Olsen. And what a splendid one it is. Created from scratch and solely on the mythical synthesizer ARP 2600, it features four tracks (reads instant classics) that couldn't be a better follow-up to his 2011 super hit EP 'Ragysh'. Towering over the assortment is the laser crime scene called 'Inspector Norse'. Defying genres and blinkers, this is finest goose bumps dance music that makes you whistle along, laughing and crying all at the same time - but the rest isn't half bad either. The short, but sweet 'Myggsommer' gives away Terje's secret love for quirky exotika, whereas 'Swing Star Pt 1' and its brother have a (balearic) brilliance and witchery to them that is rarely found nowadays. Released on Olsen Records and housed in a beautiful sleeve courtesy of Bendik Kaltenborn. 100% Arp 2600 and 200% Todd Terje.

EDB’s follow up of his 2021 debut ‘True Stories’ is finally here, and shows once again his skills for all things funky, quircky and some basslines to die for!

There is a whole range of vibes here from the astro funk of the aptly titled ‘Progressions’ to the Detroit echoes of ‘Not A Choice’, the modern twists of ‘Nothing is Wasted’ till the beatless opus ‘Masquerade’.

But make sure not to miss this special collaboration with Kemetic Just’s own Just One on the anthemic ‘The Rhythm Got Me Way Up’.
‘The Long Way Up’ its another testament of EDB’s never stopping brilliance!

How do you breathe new life into a treasured, classic track? Answer: let Danny Krivit loose on it!

Who better to inaugurate our Mr Bongo Edit Series than one of the bosses of the art of the edit. More than just simple re-touches or loops to make the track easier to mix, Danny works his magic by employing all those years of studying and working with music as a remixer, producer and DJ. He has been honing his craft since the art form began and he seems to have a natural intuition for what works on the dancefloor.

When we asked Danny if he would be interested in reworking some tracks from Mr Bongo's back catalogue we knew the edits would be special, but Danny has outdone himself with these beauties, and arguably they are more than just edits.

By sheer chance, Danny had already worked on a rough personal mix of Sabu Martinez's 'Hotel Alyssa-Sousse, Tunisia’, a track taken from the treasured 'Afro Temple' album originally released in 1973. Danny just needed to freshen and tighten it up to a standard he was happy with, and the result is pure Latin fire.

The Belgian / Dutch orchestra leader Nico Gomez's 'Lupita' from 1971 is an undisputed banger, this underground Latin-crossover favourite has been causing mayhem on dancefloors for years. Here Danny takes it into another sphere adding extra drama and build-ups, adding and overlaying fresh percussion which sounds like it could have been taken from lost outtakes. Even those who may have heard 'Lupita' countless times, are sure to be impressed by the new lease of life that Danny has breathed into it.

2 huge tracks and 2 killer edits from a master of the craft.

Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.

Birimingham’s TRMNL Records returns with its third release this September, coming courtesy of Paris, France’s Djebali.

Djebali has been releasing his twist on House and Techno since 2008 via the the likes of Fuse London's label and sub-label Infuse, Burnski’s Aesthetic, Chez Damier’s Balance Music, REda daRE Records and of course his own self-titled Djebali label which has been the predominant home for his output over the past decade.

Here though we see Djebali join the roster of the fledgling TRMNL Records, launched by the Birmingham club night of the same name so far the imprint has unveiled two EP’s by East End Dubs and Samu.l to date and here the story continues.

Title-cut ‘Rave Vision’ leads with a squelchy acid bassline and robust drums running alongside gritty stabs, spacey atmospheric pads and choppy vocal samples. ‘Line 56’ follows, shifting focus to dubby stab sequences, heavily swung drums and a bumpy bass groove all flowing with a subtly nuanced feel throughout.

The Hypnotic floaty sounds of ‘Cotton Candy’ then round out the release, diving deeper via an amalgamation of airy synth flutters, resonant synth licks and snaking subs atop a shuffled drum groove.


DJ Support:

Marco Carola
Chris Stussy
Rich Nxt
Davide Squillace
Mahony
Ilario Alicante
Jorge Savoretti
Silvie Loto
Hermanez
Tobi Neumann


DJ Feedback:

Rich Nxt - Top groove!

Salvo Borrelli - una bomba !!!!

Carlos Valdes - dope!

Alejo Galvez - lovely grooves!

Hermanez - Loving the grooves.

Tobi Neumann - Decent grooving & sounding tracks..

Karlos Sense - Wow!!!.Amazing EP. bro!!!

Mirko - super ep!

Mancini - Great EP as usual from Djebali!!

Sasa - Solid EP

Adrian Barr - Solid release, cool club rollers

Jade - Brilliant !

Lis Sarroca - all nice!

Juliche Hernandez - MASTER Djebali!! Amazing!!

Ocean Lam - Lovely summer vibes! Rave Version is my fav,

Chris Davis - rave vision is amazing!

Jorge Savoretti - Love Line 56, Djebali groover all the way

Lele Sacchi - cool deep acid driver, reminiscent of early 00's brit electronic deep, yess.

Let me tell you what, for this number 17 we have the first 10inch record that will get to the stores from Sakskøbing’s headquarters. What’s the material on this 10” let’s unravel together: On the A side we have an original production by Dan who goes by the moniker The Jaffa Kid. This hard-working producer has released and self-released an incredible body of work, which is for you to find out, so rather than reading this, go and check it out yourself, surely you will be impressed. We are very happy to welcome him to the label family with this dark acid tool sprinkled with doves chirping straight from the good old 90’s.

The B side is taken for a spin by none other than UK’s holy grail Scott Featherstone who actively tours with his live set under Triform alias and has produced records under his other projects such as “Beyond A Void”, “Glorious Springtime” and “Lemmon Grass”. Strong recommendation to check it all out of course as its swarming with total & true heavy hitters. Here Scott has taken the original track to the different way and turned it into the freaky house number that bubbles the brains in the sweet manner that it does. To conclude the rambling, these handsome artists have brought the “Tacked on Acid” EP to life for all of us to Tack.

This is the BIG 30th release on RIOT Radio Records, our fiercely independent techno label based in Scotland.

Kaylah from Hackney, London is a forward thinking and driven artist who never fails to create or play the heaviest hitting big room destroyers with the most reaffirming explosive energy. Whether it’s his own music productions or when DJing, his tough captivating pace means he’s always ready for the rave.

Continuing with the ‘Limited As Fuck’ series of releases with some twisted screaming techno here that’s so perverted it departs from any usual or accepted standards of behaviour. All four tracks featured are bonified party stompers so full of debauchery and shamelessness you may be regarded as morally corrupt to persecute the dance floor into such a devout compunction of metamorphosis, transforming it into a stalkers paradise.

WARNING: CONDITION RED: HAS BEEN ACHIEVED, THE RIOT INVASION CAN COMMENCE

Gated's second compilation takes inspiration from the path less travelled, the earthen underbelly that binds disparate threads to its wonky centre.So while the music here is from artists all over the world, each track is grounded in a quirky, off-kilter sound, from the opener by UK hardware house don Perseus Traxx to the closer by Space Agent, the alias of a yet-to-be unveiled techno artist.In between we get Gated stalwarts Guavid, Lucita Octans, Acidulant, and Lloyd Stellar with their takes on the wonk, plus glassy-eyed electro from Austin, USA-based Terrestrial Access Network, unusually banging fare from man of the moment MOY, and broken techno from the criminally under-appreciated Stacie-Anne Churchman. There's also the reissued and remastered sub-bass squelcher Beta Carotene by Modified Starch, which was originally released in 1998 on UK breaks label Slalom.

Play it loud.

Edits by Mr. K-

High-powered disco intensity is what this new slice of long-form goodness from Mr. K is all about, in the form of two neglected cuts rescued and fully refurbished by the master.

For our exclusive edit, Danny has boiled the Dynamic Superiors’ “I Can’t Stay Away (From Someone I Love)” down to its most concentrated form, leaving us with a hard-charging, peak time, disco climax that leaves dancers no choice but to work up a serious sweat. Matching the intensity of the legendary breakdowns in “I’m Here Again,” “Don’t Leave Me This Way,” or even “You Make Me Feel (Mighty Real),” “I Can’t Stay Away” is also an essential gay disco classic, with lead singer Tony Washington being a groundbreaking, proudly out lead singer whose voice surely influenced an up and coming Sylvester at the time. Check out his ad-libs, which Mr. K has made the focal point of his edit, and the similarities between Washington and Sylvester are inescapable. Released as a single in 1977, the song peaked at 27 on Billboard’s Hot Dance/Disco chart. Krivit’s edit uses the longer album version, which is appearing here in 12-inch long form for the first time.

The intensity follows through on our flip, another patented Mr. K extension that jumps right into the juiciest parts of the cut and doesn’t let up. “Hit and Run” was first released on a single by the obscure Opus 7 in 1979 but didn’t make as much noise as the slower, funkier tune it was paired with, “Bussle.” This edit rescues and rejuvenates the cut by eliminating everything but the transcendent ride out, extended to a glorious eight minutes in order to fully enjoy its pumping bass and Philly-style group harmonies.

This exclusive 12-inch has been mastered and pressed to our usual exacting standards, another killer club weapon for the serious DJs and dancers

The summer season is here and to celebrate this we present this year's brand new PIV Records Summer Sampler. 8 exclusive tracks perfectly crafted in the studio for all those special moments of sunshine with you and your friends.

Straight off the bat, it's the label's executive producer M-High - Void that kicks off some delightful pads and keys-oriented melodies, followed by German sound provider Djoko with another club anthem Fun With House. British producer Demarzo takes it on a smooth ride this time with Make it, while Litmus - Ribbon Bass takes it up a groovy notch from down under.

Next up is Kellie Allen - Like The Sun and it shows her elegant summer night vibes all around. The Ruze boys deliver us a cocktail of rhythm with their rendition of The Concorde Club, followed by the addictive Keep The Groove by Louden. Rounding up is the raw talent of Moglis making this groovy sampler the one to have by your side this summer.

Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.

First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?

For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!

On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.

Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.

The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix.

Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present.

Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.


DJ Feedback:

Foul Play
Moving Shadow
"All the remixes totally land, great package, respectfully done. gonna hear a lot of these over the summer I think."

Jerome Hill
Super Rhythm Trax, Don't, Kool FM
"Was a little sceptical seeing these were remixes as its such an iconic track - BUT fair play ! Borai and Ed Solo & Blades both knocked it out of the park and i'll be playing both these, plus replacing my personal (slightly. crusty) vinyl rip of the original ! Bigups !!"

Om Unit
"Untouchable until now tbh"

jd Twitch
optimo
"even though I have probably heard it ten thousand times you can't beat the original. remixes are cool though."

Louise Chen
"this hits so hard it's tough choosing a fave mix!"

Emerald
BBC 1xtra/ Rinse FM
"Yeeeeeh found the dubstep remix vinyl of this in barcelona recently"

Werdna (Circular Jaw)
"Classic, lovely to see Hooj bringing in the big guns for the remixes. These are going off!"

Cortese
"Sick breaks on this one"

Truss/ MPIA3/ Overmono
"wicked"

Oli Warwick
Crack/ RA/ International Orange/ JunoJuno Plus
"Absolutely seminal bomb drop here, and the remixes are no joke either!"

Chris Farrell
"Always good to see this come round again, original and borai mix for me"

Smolny
"CLASICK !"

Doc Martin
Sublevel USA/Fabric UK.
"Complete Rave Warehouse Flashbacks!!!!"

Lil Mofo
The Trilogy Tapes / Tokyo
"wow!"

Moody Boyz
all over the worldstudio rockers records
"classic tune feeling the Filter Dread Remix"

Ciel
Rinse FM / Refuge Worldwide
"really nice collection of tunes!"

dop
"love the original"