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UK techno legend Mark Broom releases ‘100% Juice’ LP on Rekids.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed Rekids Special Projects, Mark Broom returns to Radio Slave’s imprint for his latest full length, ‘100% Juice’, dropping this April.

Title track ‘100% Juice’ leads the charge, barreling forward with phased hats and trippy bleeps, before ‘Slush’ carries the rest of the A-side with dense synths and stereo trickery. ‘Rainbow’ bridge sees muted chords drifting in and out of focus alongside rattling drum programming before ‘Reverse’ mutates dub techno inspired elements with swathes of spacious FX and pitch-perfect processing.

Opening the second disc is the aptly titled ‘Wonky Workout’, which sees hard-hitting kicks meeting freaked out leads, followed by the fast-paced ‘I Want’, which brings crunchy, shuffling percussion and effected vocal samples together to devastating effect. The final side of vinyl is the one-two punch of ‘Boxed In’ and ‘Wiggle Me This’, with the former bringing sharp keys, rumbling low end and glistening pads, while the latter closes out the LP with warped acid lines and crisp drums.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently beenat the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.

* Legend of the Brazilian scene, DJ Andy, has assembled some of the brightest lights, and hottest rising stars of the Brazilian Drum & Bass family and brought them all together on one huge compilation!
* “When we talk about Brazil we don't just mean Rio de Janeiro, samba, beaches and football. This compilation has music for all tastes. We are 100% connected.” - DJ Andy
* With a history stretching back to the very beginnings of rave music in the early nineties, DJ Andy is a foundational figure in Brazilian drum & bass. He's seen the trends and fashions, the sub-genres and evolutions, the mainstream hits and the underground anthems. He knows the music inside-out. And, with this compilation, he's offered us an insight into the kaleidoscope of styles and the surge of talent that his scene has to offer.
* Of course, the Chronic and V faithful will have already been introduced to many of these artists. We're talking the likes of L-Side, Alibi, BTK, Critycal Dub and more; names we all recognise from the top end of the download charts and the set lists of the biggest deejays in the business. But then there are also those making their debut for the V family. Producers like Phizical and No Scandal, who are about to find a whole new, highly appreciative, audience.
* With this strength in depth available to him in the community, DJ Andy's managed to draw together 20 tracks that reflect the full range of what this music has to offer. You'll hear influences from multiple genres, you'll hear the darkness and the light, the vibrancy and the viciousness. If you thought “Brazilian D&B” was confined to one particular sound, you'd better brace yourself for some powerful suprises.
* As DJ Andy says himself, “I wanted to show that our songs can be heard everywhere. At festivals, nightclubs, at parties with friends, while travelling and even as a dinner soundtrack.”

All you need is Lava. Lava is all you need…

Disco’s most erotic walking, talking light show Sexy Lazer makes his debut on Riotvan with three delightfully cosmic oddities and odysseys. At points sleazy, at other points sparkling, forever loaded and coded with space, each of the three originals promises full immersion and escapism.
Zone out to the woodwind wonderment of ‘Fluting In Space’, freak out to the synth-powered bliss of ‘Future’ and totally trip out to the much darker and pensive Black Strobe-like ‘Jing Jang’. Meanwhile on the remix front label co-boss Panthera Krause gets his prowl on with the swampy, sweaty tropical twist on ‘Future’ while Axel Boman gets his dub on with his take on ‘Fluting In Space’.

Three stellar originals, two star-gazing versions, one beautiful trip into the deep unknown. Show some lava!

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

Sounds move across the limits of space and time to leave imprinted in the mind an album of memories full of colors and emotions, a travel journal that from the farthest corners of the world burns every kind of distance and returns through warm and strongly evocative sounds the colors, scents, rhythms, the atmospheres of distant lands. The result is a rich and evocative soundscape, where images become sounds and sounds images, where the elements of nature echo voices of different places and cultures, distant in space but deeply similar and intimately connected.

Imaginária Records has commissioned the refined experience of Giovanni Santucci and LucaEffeSunset a journey through the sounds of the world, which from the enveloping wave motion of the warm Iberian beaches carry us to the crystalline dripping of waters and voices of the Mexican jungle, crossing Balearic rhythms and Brazilian brilliance, letting ourselves be captured by the persuasive voices and the chasing rhythm of the magical formulas of the masciare, ancient mysterious witches of southern Italy. In this journey, which represents the first stage of a wide-ranging project (a trilogy that will take the shape of new musical experiences gathered around the themes of the places first and then of the return), an exciting centrifugal movement that attracts towards a single center: the beating heart of a single Mother Earth; voices, suggestions, rhythms, emotions from the far/near, in order to confirm, together with Raymond Murray Schafer, that in the end "the whole world is sound".

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

NEW RED ASTAIRE (AKA FREDDIE CRUGER) drops the 12 more dope tracks influenced by classic reggae, hip hop, R&B, downtempo and dub vibes. Includes several hard to find/out of print gems including "GHETTO HELL", "MAMBO EL KINGSTON" and a previously
unreleased version of his classic "FOLLOW ME". Full pic sleeve (with some dope artwork from BASTARD JAZZ’s JJ MARLEY). Don't miss!

It begins with a rustle of noise, equally reminiscent of distorted factory noise and a cassette recording of cathedral bells unspooling, before a near-robotic beat and stuttering bassline enter the fray. Initially, you could be forgiven for thinking you’ve stumbled across the lost tapes of Joy Division’s early Warsaw incarnation, but the atonal blast of strafing guitars fading in and out soon make you realise this is a very different proposition. This is The Drin, and ‘Engines Sing for the Pale Moon’ is their debut album. It’s also one of the best things you’ll hear all year. Helmed by Dylan McCartney, drummer of the rock band Vacation, The Drin originally released this album as a hyper-limited cassette via Future Shock. It’s as much of a departure from McCartney’s usual output as it is for Drunken Sailor Records; songs don’t so much explode out of the gate as drift towards you like a creeping fog that turns your skin inside-out and leaves you sloshing organs all across the carpet. Second track ‘Guillotine Blade’ shows the pieces all coming together, a dubbed-out riot of claustrophobic noise that feels like Pere Ubu trapped in a cupboard one minute, and ‘Warm Jets’-era Eno trying on Bauhaus’ trenchcoats the next. Meanwhile, ‘Down Her Cheek A Party Tear’ unfolds across jittering, skittering rustles of drums and an undulating bassline, making you wonder why post-millennial post-punk so often settles for dickheads shouting non-sequiturs over landfill indie, when it could be entering these dark, unsettling territories instead. The Drin like to get weird. The Drin like to get wild. The Drin rarely cut loose, but that’s because the trip is already intense and haunting enough without things getting raucous in here as well. Hey kids, turn off those shite band name redacted records and get into this; you deserve so much better, and better’s right here. Fall into it, immerse yourself and step forward into a brave new world. I love this record

LeSale is back with the Synchronized EP, which marks his fifth solo EP on Luv Shack Records.

The title track is LeSale´s first foray into boogie-funk, featuring lyrics and vocals by Kathy Diamond, one of the great voices of the early nu-disco era and former singer of the duo KDMS, as well as tape mixing by vienna based studio wizard Sam Irl. "Synchronized" comes in 4 versions; the classic vocal mix featuring the full vocals by Kathy Diamond, the instrumental mix which is stripped of the vocals entirely, the extended dub mix, featuring arrangement and additional overdubs by Sam Irl, concentrating on the bare,funky essence of the track and finally a special remix by Ooft!.

The Ooft! remix lays a club foundation for "Synchronized", taking it to proto house territory with a sparse use of original vocals and additional drums, synth leads and pads.

As a bonus original track, we get "Superfluid", an upbeat elektro-funk journey with the right amount of

GLOK is the electronic alter ego of Andy Bell; best-knownas the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

Born from ten-hour jam sessions in peeling Brighton bedsits, the
technical parameters of a bootstrap recording process and the osmotic, multi-genre influence of internet music archives, quintet Ebi Soda have been steady-cultivating a unique sound amidst the exploding UK jazz scene.

Despite their steep rise – the Brighton outfit have preserved as much as possible of their unique recording process, originating from their very first sessions. With just a two- track recorder around, the band would lay down whole takes, one instrument at a time, then immediately transform the overdub, digitally reshaping the sound with the same mischievous, adderall energy as the musical performance.‘Honk If You’re Sad’, their sophomore full-length album, stays true to these foundations, while bringing more ambitious experimentation, technical mastery and a stellar lineup of guest players to the studio including Yazz Ahmed, Deji Ijishakin and Dan Gray.In typical Ebi style, while recalling jazz pioneers in playing style, ‘Honk If You’re Sad’ draws from a vast neural network of influences:
the Ebi Brain has been marinating in a digital soup of trap, drill, dub, post-punk and no wave to name but a few. The result is a mercurial record that beams in psychedelia, dissonance, serene ambient passages, tough, neck-snapping beats and lush textures, all underscored by the intersection of jazz, hip hop and electronic music.

Tristan Disco was an ephemeral Japanese project led by Takayuki Shiraishi (BGM, MLD) focused on making dubbish Post-Punk.
In 1982 they elaborate a no-wave full of unrehearsed breaks and cavernous vocals. Boundless dark jamming sessions through shades, effects and reverbs always submerged by a tense nervous bassline.

On the B side Krikor delivers a hard-hitting Industrial reconstruction of "Social Dance" perfect to shatter your brain.
Retakes from the mysterious ambient artist Civilistjävel! are more brooding.
Introspection and faded horizons are the main purposes here but a glimpse of hope still glow.

The Equations Collective is an experimental sound project formed by a multi-disciplinary group of artists, active in the fields of music, photography, sound design & software development.

In 2018, the collective set up a temporary outdoor recording studio, 1130 meters above sea level, on the slopes of Mount Helicon in Greece, with the ambition of recording their work in a natural environment. A 'mobile and modular' construction, fully powered by solar panels, the design of the studio showcases the possibilities of a progressive, environmentally sustainable future through renewable energy.

Embodying ecological incentives, and representing an immersive engagement with the landscape, the 'Helicon Sessions' document this extraordinary residency, capturing a profound dialogue with the eponymous mountain region.

Situated in Boeotia, Central Greece, Mount Helicon has a prominent archaic significance. A historic location where stories of sacred springs and the epic origins of the Muses and Narcissus converge. Steeped in the heritage of ancient narratives, Helicon is seen as a principal symbol of poetic inspiration.

On the 'Helicon Sessions' the collective draw upon the inspiring topography and fabled mythological resonances of the area, unfurling an expansive, hypnotic suite of abstract electronics. Liberated by an open-ended, improvisational dynamic, the collective move through a mysterious, elemental cycle that mirrors the imposing scale and dramatic atmospheres of the setting.

Across an entrancing, fluid sequence of five designated 'cuts', the collective traverse the borderlands of drone, techno, dub, and acid, amplifying the acoustic traces of Helicon by integrating field recordings collected at the site into this arresting body of work. With these recordings, the collective delineate an odyssey of subverted 303s, sputtering drum machines and formidable, oscillating low end that drifts and coalesces like an amorphous mirage; a spellbinding sound world of clarity and shadow.

The 'Helicon Sessions' signify a symbiosis (between the terrestrial and the engineered, between wildlife and futurism, between the intrinsic and the synthetic, between the innate and the manmade) And with their conception of a portable, eco-friendly studio The Equations Collective focalize valuable ideas centred on ingenuity and evolution. The outcome of this project illustrates a unique collaborative exchange which acknowledges the deep nuances of environment and the enduring echoes of history.

The Equations Collective is a collaboration between Artefakt, Aroma Pitch, Aphelion and Sphera De Noumenon across Berlin, Amsterdam, Cologne and Hamburg. Together they have established an all night long live event in Berlin, starting at Sameheads and Acud Macht Neu, which eventually lead to their residency at OHM (Tresor).

For this format they have collaborated with the following artists: Alex The Fairy, Anna Z, D-IX, Eliad Wagner, Jón Friđgeir Sigurđsson, Orson Wells, Phillip Jondo, Philipp Matalla, PRSMC, Rabih Beaini, Sabrina Gricourt, Sébastien Robert, and Vida Vojić.

The respective members of The Equations Collective have released a range of output on the likes of Field Records, Delsin, Semantica Records, De Stijl, & Soul People Music.

Since 2018 their visual identity has been shaped by Elias Hanzer.

The 'Helicon Sessions' is their debut release.

ACHTUNG !! Another weighty missive from the desk of Herr Campbell, otherwise known as Consulate - Perth’s preeminent breakbeat bureaucrat, currently stationed in Melbourne, Australia.

Smelling like leather and tasting like metal, the “Assassino” EP features four full-excursion incantations for all the midwinter ravers -- solstice steppers enhanced with dubwise technique and enchanted with ancient foreboding…

Careful what you conjure when the needle hits this platter.

Jimpster’s lockdown LP was made throughout 2020 and finally sees the light of day at the end of February 2022 having been delayed around 6 months due to the ongoing vinyl pressing hold ups. Birdhouse is the revered producers seventh full length LP and can be considered a full circle as he takes a step away from the dance floor to revisit his early inspirations of jazz, 70’s fusion, library music, ambient and sample-based downtempo electronica. With its soulful touches, vocal and live musician features and trademark warm Jimpster production, we also think it could be his most accomplished and accessible yet.

The opening title track sets the tone for what’s to come with rustling percussion, widescreen choral samples, dub FX and drifting pads all coming together to create a sense of optimism. The first of six vocal features comes next. Ascension with UK vocalist Oliver Night (featured on IG Culture’s recent Earthbound LP) is a simple soul jam with live bass from Nick Cohen and Jimpster’s beloved Fender Rhodes joining the lo-fi drum groove.

Next up we’re treated to Voodoo featuring brilliant young NYC MC/poet/producer who first grabbed Jimpster’s attention with his mind-melting track Signs, released in 2020 on Youngbloods. Yoh’s sung (not sung) vocal flow adds a new dimension to the Jimpster sound and is hopefully the first of many more collaborations to come with this perfect pairing. Still Believe takes us on a tripped-out journey into slo-mo, lopsided MPC beats punctuated with otherworldly vocal samples, live bass and Rhodes making for an immersive late night mood.

The first of two tracks on the LP featuring London vocalist and songwriter Cairo drops next entitled Beautiful Day. Another incredibly talented young artist introduced to Jimpster through a mutual friend, Cairo adds a deep and uplifting vibe making for a track you’ll come back to time and time again. A slow-burning nu-soul groove which will draw you in with its warm glow. Lazarusman is a Johannesburg-native poet and vocalist known for his collaborations with Stimming, Joris Voorn and Booka Shade. Here he delivers a poem called Heavy, perfectly punctuating the haunting reverb-drenched horn, Detroit-esque chord stabs and filtered drums.

Future Paradise drops the BPM's further still for a slow-stepping synth ride mixing up rising arpeggios, dubby flugel horn FX and the lushest of strings. It’s been 15 years since Jimpster and Capitol A last joined forces on Left n Right from Jimpster’s Amour LP. Known for his work with Jazzanova, King Britt, Mark De Clive-Lowe and 2008 club anthem Serve It Up on Mantis, the San Francisco native MC delivers his inimitable flow to a blunted jazzy hip hop groove making for one of the LP highlights.

Up next, Rain is an intimate and understated slice of contemporary soul music which pushes another spellbinding Cairo vocal front and centre, underpinned by loose, crunchy beats, dusty keys and moogy flourishes. Picking up the pace, Doors Of Your Heart sees Jimpster get busy chopping up a funk groove whilst Nick Cohen lays down another killer live bass line. Lush keys, modular synths and some crazy FX processing take this into the stratosphere and call to mind some of his earliest productions in the late 90’s on his seminal LP Messages From The Hub.

Winding things down, Jimpster continues to revisit some of the sounds and flavours of his earliest work on Tell You, which goes seriously deep with touches of cinematic big band horns and a looped up vocal sample. Closing out the LP we have the aptly titled Full Circle complete with sublime Metheny/Mays-style pads, muted synth arps and subtle FX to drift away to.

The US-born, Norwegian-Mexican musician and producer Carmen Villain, real name Carmen Hillestad, has spent the last nine years and four albums gently unraveling song into the sound of emotional impulse. From the tilt and croon of her first two albums to the expansive warmth that flows and pulses beyond ambient in her more recent output, Hillestad's journey is artful musical deconstruction but also somehow spiritual growth.Hence new album Only Love From Now On, her fourth full-length and the culmination of a build-up that really began with the turn in sound evident from third album Both Lines Will Be Blue (2019, Smalltown Supersound) and the subsequent releases Affection In A Time Of Crisis (2020, Longform Editions) and Sketch For Winter IX: Perlita (2021, Geographic North). While the seed of her aesthetic was planted earlier, it has blossomed into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality. If her themes, especially now, are wide, philosophical, and occasionally abstract, the emotional tenor of Hillestad's music is clear and purposeful. Makes sense that her key musical touchstones are dub, ambient, and cosmic jazz - flexible vehicles for tranquil wonder. While it may not contain voice or lyrics, as her two earliest records do, she describes it as, "wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown." Listening to Only Love From Now On is simultaneously comforting and alluringly strange. Partly it's the contributions of guests Arve Henriksen (trumpet, electronics) and Johanna Scheie Orellana (flutes). Partly it's the fluidity between instruments - such as clarinets - field recordings, the studio, jam, and careful composition. She calls the process a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making. But mostly that strange comfort is in the peace and grateful contentment she has found via the stark recognition of her own privilege - laid bare by the pandemic. Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

The mysterious trio Pandilla LTD provide the first release on Ozy, a new sub-label run by Miguel Melo from Lisbon’s Carpet & Snares family. Never ones to tread the easiest path, Pandilla show off their full range of moods and tempos on this 4-tracker, opening with the jazzy and glitchy breaks of vignette ‘Beat Untitled’. This leads into ‘aWARe’, a downtempo epic of cinematic ambience and released tension that contrasts with the more dancefloor-ready cuts on the B. With its patient dubby tick-tock, ‘Mind Trick’ feels like a long-lost Basic Channel side-project, while the more extrovert ‘Trying To Go’ closes things in style with a shimmy and a shake.

A key figure in Chicago’s second wave of influential house and techno producers, Mystic Bill returns to Classic Music Company with ‘Body Moves’, a release with serious club credentials and drenched in authentic NYC, New Jersey and Chicago influences. This 12” package is becoming a firm favourite of in-the-know selectors, no doubt thanks to its party-starting qualities that are sure to captivate floors. Featuring four versions of the track, Bill navigates various different analogue moods, kicking off with the vibing house of the original, as euphoric synth arpeggios and a warm, groovy bass blend for dancefloor magic. The Reprise Mix is another juicy club cut, with a full-throttle bassline that rips through the newly looped vocal. On the B-Side the NYC Mix demonstrates Mystic Bill’s trademark deepness, headsy enough for the darkest recesses of the dancefloors but with buckets full of energy for peaktime sets. The NYC Dub closes out, an essential club tool for any discerning selector. A perfect fit for Luke Solomon’s imprint, Mystic Bill’s ‘Body Moves’ is not one to be slept on.

Dublin's garage connoisseur Prozak shares with us five clean-cut steppers on Holy Spirit EP; pairing UKG with ambience and breaks with jubilant club sound palettes.

The killer record opens out with triumphant, easygoing garage on "1996". Meanwhile the title track is a raucous beast, explosive breaks and frenetic vocals that tear through the dubwise breakdown.

"Want Ur Luv" is full of romantic energy and cascading melodies; diva vocals float over classic two-step in blissed-out fashion on "Hold Me Down". Lighthearted glimmering ear candy continues on "Higher"; a high-energy rave roller with a retro feel.

One of this year’s breakout success stories from the UK’s current thriving independent music scene,
critically acclaimed seven-piece Black Country, New Road present here their highly anticipated second
album ‘Ants From Up There’ via Ninja Tune.
 Debut album ‘For the first time’ was shortlisted for the 2021 Hyundai Mercury Prize. The band
performed ‘Track X’ live on BBC 4.
 ‘Ants From Up There’ was written in lockdown in the early part of 2021 when the band were unable to
go on tour as planned to support their album release. The result is a stunning collection of songs and a
move in direction to a more crossover, alternative sound beyond the experimental and ‘post-punk’
nature of their debut.
 New album expands on their unique concoction to create a singular sonic middle ground that traverses
classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
 Extensive global touring in 2022, including their biggest London show to date at the Roundhouse, full
UK and European Tour in April/ May. Sold out 2021 shows include Brighton, Liverpool, Manchester,
Birmingham, Glasgow, Bristol and Dublin and more.
 2021 festival dates include End Of The Road, Latitude, Fusion, Roskilde, Dour, Bol Festival, Pohoda,
Le Guess Who, Dour. In 2022 they’ll play Primavera Sound, Dour, Way Out West, Bad Bonn Kilbi, Bol
Festival.
 For fans of IDLES, Black Midi, Squid, Phoebe Bridgers, Jockstrap, Nick Cave, The National,
Radiohead.
 Deluxe 2CD box set with bonus ‘Live from the Queen Elizabeth Hall’ disc, 4 art prints, black paper
inner sleeves, lyric booklet and sticker.
 Standard CD in gatefold sleeve, black paper inner sleeve, lyric booklet and sticker.
 Deluxe 4LP 140g vinyl box set with bonus ‘Live from the Queen Elizabeth Hall’ double LP, black paper
inner sleeves, 4 art prints, lyric booklet and sticker.
 140g double vinyl, artworked gatefold sleeve, black paper inner sleeves, lyric booklet and sticker

Loveface is back with the fifth volume of everyone’s favourite ‘80s inspired series. Three full frontal, electro boogie bombs plucked straight from the top shelf, strapped into the LFM DeLorean and fired into the future.

The second release to be pressed into Totem's slabs of 10-inch vinyl is from techno impresario Luke Slater's L.B. Dub Corp moniker. Slater has been operating as a pioneer, with a full deck of aliases, throughout the genre's many corners since the days when techno was a newborn phenomenon. The stripped back sounds of L.B. Dub Corp's last releases on the imprint have resounded naturally within the psychotropic space carved out by Stroboscopic Artefacts.

Repress

The third installment of Hypnus' Serum-series introduces two wonderfully swirling deep techno cuts from Swedish producer Hardstedt Under Molnet with interpretations by Hypnus adepts Luigi Tozzi and Ntogn.

The record will be pressed in 180 gram marbled vinyl (transparent blue and white); sheathed inside a hand-stamped and undyed inner sleeve. It will be limited to 300 copies and released under the July full moon.

Early support from Claudio PRC, Deepbass, Ness, Svreca, Slam, Patrick Siech, TM404, Etapp Kyle and Iori to name a few.

Ambient folk musician and experimental composer from Portland, Oregon David Allred returns to Belgium-based Dauw Label with a full length record, Driving Through the Aftermath of a Storm on a Clear Day. The underlying theme of this music is about exercising calm and learning to find it in the aftermath of all situations. These modern classical compositions are primarily centered around felt piano, strings, brass, tape, voices, synthesizers, guitars, percussion, etc. with methodical dynamic dub-inspired experimental arrangements throughout.

David Allred is a musician, multi-instrumentalist, composer, songwriter and sound engineer based in Portland, Oregon. While primarily working and touring internationally as a solo artist, David has also released music under various collaborative projects such as Allred & Broderick (with Peter Broderick) and Good Enough for Grandpa (with Greg Eldridge). David has additionally appeared on works by Heather Woods Broderick, Lubomyr Melnyk, Masayoshi Fujita, Chantal Acda, Brigid Mae Power, Birger Olsen, Jung Body, St. Tsunami, The Beacon Sound Choir, etc

The classic debut LP by Dub Narcotic Sound System, originally released on K Records and unavailable on vinyl for 25 years. The oddball indie-funk collective Dub Narcotic Sound System was spearheaded by vocalist Calvin Johnson, the former frontman of the legendary Beat Happening as well as the founder of the famed K Records label. Named in honor of Johnson's own Olympia, WA-based basement studio Dub Narcotic, the project was begun in 1994 with a rapid-fire series of funk-, rap-, and reggae-influenced singles including "Bite," "Fuck Shit Up," "Booty Run," and "Shake-a-Puddin'"; from the outset Johnson was the group's sole constant member, although over the course of subsequent releases, including the EPs Industrial Breakdown, Ridin' Shotgun, and Ship to Shore, the revolving lineup grew to include Olympia scenesters like Lois Maffeo as well as Larry Butler, Todd Ranslow, and Brian Weber, all three members of the hip-hop unit Dead Presidents. The first Dub Narcotic Sound System full-length, Rhythm Record, Vol. One: Echoes From the Scene Control Room, appeared in 1995; later efforts included 1996's Boot Party and 1998's Out of Your Mind. Sideways Soul, a collaboration with Jon Spencer Blues Explosion, followed in 1999. Trouser Press wrote that "when not delving deep into the usual sorts of ambient studio trickery, the songs hit a '60s R&B stride, bathing in the stoned soul picnic ambience with uplifting spirit."

Repress in soon, note new price. For Fans Of: The Gaslight Anthem, Jawbreaker, Bouncing Souls, The Lawrence Arms, Bayside. Still a red-hot release more than 10 years later, Chamberlain Waits is now back in stock! Here’s what we had to say about the release when ­rst issued in 2010: After releasing an especially lauded EP and touring much of 2009, The Menzingers have been dubbed a “Band You Need To Know” in 2010 by Alternative Press and now they have a brand new full length proving why. Chamberlain Waits may very well be the most important record released so far by Red Scare and on it The Menzingers combine many of the genre’s styles (punk, hardcore, folk) to make for an undeniably infectious hybrid of hits. Produced by Matt Allison at Atlas Studios (Alkaline Trio, Less Than Jake, Lawrence Arms), this new album is destined for great, great things.

Northern stars of the Time Is Now series, Soul Mass Transit System, are back for their fourth full-length outing on the popular garage imprint with All I Need. The duo, both established producers in their own right, bring infectious grooves and cheeky samples to shake off the winter blues to.

Sax-infused opener "Freak-ee" serves up shuffling two step and retro vocals - gentle diva intonations giving a housier edge to the sound. "Show U Love" criss-crosses between crooner samples and a classic, dirty dub-driven delight for late night punters.

Skippy snares and cleverly glitched up samples make an earworm melody in "All I Need (Deepa Inside)", before the tempo is pumped up speed garage style for the closing track "The Message". If the rumbling dubwise melody doesn't control the dancefloor, the tantalisingly elongated second drop will.

‘Expressions of Interest’ is the debut album from Melbourne/Naarm post-punk group screensaver.

Sonically, the 10 track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths and motorik drumming. Engineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021

The album opens with the ominously titled ‘Body Parts’, an immediately arresting song that showcases the bands penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.

Maynard doubles down on these themes in the frenetic second track, ‘No Movement’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett like flourishes.

The album takes a surprising turn into electronic driven krautrock on track three with 'Buy, Sell, Trade' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.

'MEDS' transports us back to the foundation established on 'Body Parts', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.

It's from this point in the album that the band let's their other influences rise to the surface, as they explore touches of EDM on 'Static State' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bass line culminating in a track worthy of the dancefloor.


Opening side two we have 'Skin', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to colour in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.

In ‘Attention Economy’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘Attention Economy’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom driven beat, lush synth lines and minimal bass tones.

Just when you thought things had slowed down, screensaver ramp things right back up again with ‘Overnight Low’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’

Before you can catch your breath, we have ‘Regular Hours’ - another industrial track, and perhaps the sister song to ‘Static State’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.

The album closes with the fittingly titled ‘Soft Landing’, literally bringing the listener back down...softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘Attention Economy’ a few tracks earlier.

‘Expressions of Interest” was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘Strange Anxiety’, throughout the first months of the Melbourne 2020 lockdown.

On Top Records is extremely proud to welcome back Smasher with his sophomore album, ‘Vibes In Motion’. due for release the 16/07/2021

Following the release of his debut album ‘Locked In Locked On' in 2020 which featured in numerous 'Album of the Year' lists Smasher has spent the past year offering a high level of consistency among a time which has been very difficult for creatives.

With live shows stopping to a halt Smasher has taken this opportunity with both hands building a home studio to sustain creativity a very important factor for an individual who has a burning passion to create music, he has used the time productively “Vibes In Motion” is 51 minutes of future classic British UKG encompassing Hip Hop, Grime, RnB, 2 step Garage all blended together seamlessly to bring a fresh approach to a genre he has gone extremely hard for. As with previous material, the album is produced by Smasher himself collaborating with long time friend Aaron Greenwood bringing his soulful smoothed-out keys and backing vocals the pair have a great working relationship which spans over a decade which can be heard through out the record.

Smashers journey began with a love for late 90’s UK Garage collecting vinyls from record shops and dj’ing on pirate radio, which lead him to Hip Hop, RnB, Reggae, Soul and many different uk underground music styles, followed by decades of producing records for some pinnacle uk artists most recent production credit for “Ghetts” on the critically acclaimed ‘Conflict Of Interest’ album charting at number 2 in the uk albums chart, Giggs - Landlord album, Klashnekoff - Iona to name a few, Smasher is a producer who can deliver a very high level of production no matter the genre. Over the past 2 years Smasher has gained props far and wide: from Todd Edwards to DJ EZ releasing a record under his Nuvolve imprint, to guest mix for MBE clothes designer Wale Adeyemi, comedy UKG faves Kurupt fm posting his “lockdown freestyle challenge” Numerous guest shows & live streams for Rinse fm, Kiss fm, Phaze Transition & Mind Charity, limited vinyl run presses to collaborating with Capo Lee & Ayo beats for film soundtrack “Against All Odds”

Since releasing “Locked In Locked On” the feedback for the project was so greatly received i knew how i wanted to approach this next album and with plenty of time on my hands to experiment i wanted to include more collaboration, a lot of the link ups came together organically.

I feel you get a nice balance of some new school artists like Local, Solo Jane & Hotch mixed with some UKG generals like MC Neat, Mighty Moe, Preshus, Creed & Troublesome and original “Knightz of the round table” member Luckie Luciano, i always feel a duty to pay homage but i also want to evolve the sound and take it to the next level.

Since march 2020 its been a tuff time for people i feel like there are some hidden messages in the album it leans towards the underdogs of this world and at times i feel like that but there is always this burning desire inside me to want to do better hopefully that comes across for the listener.

Already with a dedicated fan base and support from tastemaking DJs such as DJ EZ, Conducta (Kiwi Records), Toddla T (Radio 1), Heartless Crew (1xtra), Majestic (Kiss), Scott Garcia (kiss), Smokey Bubblin B (Rinse fm), DJ Redhot (Rinse fm), Dj Cartier, DJ Spoony, Artful Dodger, MattJam Lamont (Rinse fm) Shosh (Kiss Fm) Rudekid (Kiss fm) Ricky Chalrie & Melvin (BBC Radio 1) amongst others from the burgeoning UK Garage scene,

The Smasher sound especially in UKG has brought a well needed fresh flava to a genre which has had very few full album offerings, with that said its time to share “Vibes In Motion” with the universe, This will solidify Smasher as an artist in every sense of the word and undoubtedly concrete him as one of the UK’s finest talents.

The Ethiopians are one of the great vocal groups to come out of Jamaica. Singing songs of life and times as they found them, themes that resonated with the people of the Island that made them such a treasured group. Lenard Dillon (b. 9 December, 1942, Port Antonio, Jamaica) the founding member of the Ethiopians began his singing career at Clement 'Coxonne' Dodd's Studio One. Initially he recorded under the name of Jack Sparrow, and backed by the Wailers, cutting 'Ice Water' and 'Suffering In The Land'. Under The Wailers encouragement, he went on to form his
own vocal group. Recruiting singers Stephan Taylor (b.1944, Portland, Jamaica) and Aston 'Charlie' Morris to become The Ethiopians. They cut 'Live Good', 'Why You Gonna Leave Me Now' and 'Owe Me No Pay Me'. Although receiving favourable response, Aston Morris decided to leave the band and the remaining pair carried on and cut 'I'm A Free
Man' and 'Don Dead Already' and 'For You'. On meeting contract builder Leebert Robertson who had recently returned to live in Jamaica, ashad he wanted to get into the music business, a session was booked for Treasure Isle Studios. The session produced their seminal 'Train To Skaville' track, which became an immediate hit in Jamaica and in the UK, when in 1967 it reached number 40 in the charts. They also cut 'Engine 54', which became the title of their debut album. Its
follow up 'I Need You / Do It Sweet', did not fare so well and the band moved over to Sonia Pottinger's stable, where they cut 'The Whip / Cool It Amigo' which revived their fortunes and proved another big hit for the band. Two more hits followed 'Stay Loose Mama' and 'The World Goes Ska', after which the band decided to return to a trio, adding
Melvin 'Mellow' Reid to the line up. The band now hit another run of successes with producer JJ Johnson 'Everything Crash, 'Gun Man', 'Hong Kong Flu' and 'The Selah'. Many hits followed leading the band to work with a variety of Jamaican producers. Such tracks as 'I Want To Be a Better Man, ' Conquering Lion', 'Fire A Mus Mus' Tail', and the timeless 'Reggae Hit The Town' to name a few. Two albums 'Reggae Power' (1969) and 'Woman Capture Man' (1970), pulled a lot of these tunes together. Sadly Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The
Observer and cut the Rasta based album 'Slave Call'. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello and Hychi Dread. An album that showed all the Ethiopians magic had not been lost.
For this release we have included the full 'Slave Call' set, 'Ethiopian National Anthem', 'Slave Call', 'Guilty Conscience', 'Hurry On', 'Mus Follow Babylon'(on CD Edition), 'Train To Skaville (1977 version, on CD Edition), 'Culture', 'Obeah Book', 'Let It Be' and 'I Love Jah'. Alongside some of the bands early hits including the original version of 'Train To Skaville', 'Engine 54', the great and poignant 'Everything Crash', 'Reggae Hit The Town' and 'The Selah'. An interesting set to remind us what a great group the Ethiopians really were.

UK Dub pioneers Alpha & Omega (Greensleeves / A&O Records) represent the foundation of soundsystem culture and bass music migration from Jamaica, via the UK, to the world. Formed in the 1980’s and with over 30 studio albums to their name. Finally, for the first time in three decades Steppas Records has launched the A&O full LP reissue series. The latest in the series is 'Overstanding' a timeless and much sought after album originally released in 1992 currently only available at sky high prices if at all! Lovingly re-mastered and presented in the original sleeve featuring the iconic A&O artwork. Overstanding is another genre-defining album and a true piece of musical history.

‘Eighteen Movements’ is a collection of recordings captured at live performances between 2017 – 2019. The record’s rich textures combine ambient, tribal rhythms, field recordings, ritualistic vibes, and a meditative feeling that runs through the entire LP. Đ.K. is in full flight mode, illustrating the project’s aptitude for deep transcendence.

Đ.K. is a DJ, composer & producer based in Paris, France. A versatile and prolific artist, D.K. has cultivated an eclectic body of work in recent years, with acclaimed output on renowned labels including Antinote, Melody As Truth, 12th Isle, Good Morning Tapes, Music From Memory’s Second Circle imprint, and L.I.E.S. (as 45 ACP).

Luminous and mesmeric, D.K.’s work combines finetuned traces of house, synth pop, ambient, balearic, minimalism, and fourth world music, creating energies and soundscapes which aim to invoke elevated forms of consciousness.

Prismatic tones exchange space with devotional drums on ‘Clarity’ and ‘Echo Chamber’, as Đ.K. hits a hypnotic stride somewhere between Jon Hassell, HTRK & a Folkways percussion ensemble. With ‘Full Consciousness’ meditation bells ring out across a progression of gleaming new age emanations, conjuring an entrancing spell. Movements of pulse and ether.

On ‘Mirror’, sonorous, elaborate percussive phrases are interwoven with drifting ambient vapours, while ‘The Other Side’ veers into broad, rolling blasts of dub and Antipodean drone, a cavernous trance evoking the early roots of Ras Michael and Yabby You, pared back to resolute drum sequences and infused with esoteric chimes and sultry synthesis.

The finale of ‘Eighteen Movements’ represents one of Đ.K..’s most ambitious recordings. ‘Awakening’ is an epic tone poem of aqueous, outer planetary resonance that completes this mercurial cycle with a poignant, euphoric fadeout. Chronicled in the moment, alternating between rhythm and repose, momentum and aviation, 'Eighteen Movements' sees Đ.K. voyaging further, into vast, uncharted outskirts of sound. A collection of movements for heightened states and new diversions.

Mastered by Jose Guerrero at Plataforma Continental. Graphic Design by Javi Tortosa.

* Limited edition vinyl release presented in full colour sleeve.
* Suv & Dr Meaker link up to create a 3 track project, complete with 2 additional mixes from Jungle D&B don Bladerunner.
* As part of the V, Reprazent, Full Cycle, Dope Dragon and Playside Recordings camps Suv has always forged his own path within D&B. Experimentation has always been at the core of his musical journey and, over the years he has been behind some of the freshest and most forward-thinking music this genre has to offer.
* Dr Meaker has built up an impressive CV, gaining nods from the likes of Annie Mac, Zane Lowe, DJ Target, Mistajam, support from UKF, Mixmag, DJ Mag, DNBA and more, as well as regular bookings at festivals such as Glastonbury and Boomtown.

Already iconic in London’s underground queer rave scene, Josh Caffe makes a characteristically upfront and disruptive arrival to Phantasy with his debut single for Erol Alkan’s label, ‘According to Jacqueline’. Produced in collaboration with Quinn of Paranoid London, for whom Caffe has previously provided vocals on club favourites such as ‘Vicious Games’ as well as for their rapturous live sets, ‘According to Jacqueline’ fully centres and cements Caffe’s personal vision of club culture as a raw and demanding force.

Loosely chronicling a hi-NRG pursuit across the club, ‘According to Jacqueline’ follows murmurs on the dancefloor concerning one such individual, a “freaky butch queen on the scene, dancing round like a machine.” Outrageous, confrontational and disappearing further into a space between ecstasy and submission, Caffe’s attitude and sound spans Chicago house, vogue culture and the resurgent spirit of his home city’s current LGBTQI+ landscape.

A complimentary dub provides dancers the opportunity to luxuriate in the sensuality of Caffe’s advances, but no matter what side the needle lands on, Jacqueline’s wicked tongue persists in cheek.

Emerging Irish talent Lukey makes his debut on Hot Creations next month with the three-track Less Is More. Achieving such a feat so early in his career signals a major milestone for the young artist, setting the tone for a highlight year ahead.

The title track kicks off the release, showcasing the Irishman’s signature style with a minimal, four-four led bassline that features a rolling synth throughout. Quick One soon ups the tempo, packed full of dubby undertones and cosmic-leaning synths, before We Will Never Hear brings things to a close. A devilishly danceable piece that features an iconic vocal, expect to hear this across the global club circuit in 2021.

Already an established presence in his home city of Dublin, it’s no surprise Lukey is beginning to take the wider industry by storm. Previous appearances on Play Groove and IWANT Music have solidified his reputation as one of dance music’s breakthrough talents. With two vinyl-only releases dropping on Carpet & Snares this year, as well as plenty of productions in the pipeline, the future is certainly shining bright for Lukey.

Debut album Moveys was released to critical acclaim from the likes of The New York Times, NPR, NYLON, AV Club, Stereogum, and more. Pigeons & Planes Rising Band To Know For 2021. Future Touring: European tour spring 2022. RIYL: Alex G, Beabadoobee, Big Thief, Soccer Mommy. Slow Pulp follow up their triumphant debut album 'Moveys' with two 'Deleted Scenes'. "At It Again (Again)" reinterprets the grunged-up album track as a soft and gentle acoustic version. Emily Massey’s vocals float light as a feather over strumming acoustic strings and staccato guitar rhythms. "Iowa" is a hazy, fever-dream take on 'Moveys' standout "Idaho". Recalling the ethereal allure of alt 90s acts such as Mazzy Star or Enya, this adaptation finds the band experimenting with new sonic textures. Somehow both haunting and comforting, the pitched-down, androgynous vocal delivery gives “Iowa” its unique charm. 2020 was a turbulent year of ups and downs for the band. In the process of making their debut record, the Chicago- based indie rock band powered through health challenges, a severe car accident, and a pandemic. On the other side, they emerged with 'Moveys', 10 compelling tracks of blistering energy and emotional catharsis, highlighting the band's resourcefulness and resilience to come together even when the odds were stacked against them. Their debut long-play was released to critical acclaim from the likes of The New York Times, NPR, NYLON, AV Club, Stereogum, and more. Pigeons & Planes recently dubbed Slow Pulp a rising band to know for 2021. To support 'Moveys' and its counterpart, 'Deleted Scenes', the band will embark on a full US headline tour this November and December. Stops will include shows in New York City, Los Angeles, and their hometown of Chicago.

Kingston Jamaica's well known and always forward operating Dancehall creators Equiknoxx in special collaboration with eclectic Twin Cities USA newcomers Feel Free Hi Fi. 4 tracks with 4 dub versions of experimental electronic dancehall.

The records come in double sided silkscreen printed DJ jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

To many, Equiknoxx needs little introduction. The musical collective of Gavsborg, Time Cow, Shanique Marie, Bobby Black Bird and Kemikal has been operating on an international level for many years now. Their debut, 2016’s Bird Sound Power was met with critical acclaim. Since then Equiknoxx has released two more full length albums, many singles, collaborations and have consistently performed around the globe

During the inception of Feel Free Hi Fi as a Sound System in the Twin Cities, Equiknoxx productions were in heavy rotation. Their distinct approach to Dancehall, Dub and Electronic music felt like a sound that Reed and Maxwell had been waiting to hear for a long time. The initial connection with Time Cow via social media soon turned into a regular correspondence, hang outs in NYC and this musical collaboration.

The record is simple in premise but dynamic in resulting sounds. The record features original rhythm offerings from Gavsborg, Time Cow and Feel Free Hi Fi (in collaboration with W. Statler of Free Music). All rhythms were swapped and dubbed, creating eight tracks in total. A release with a basis in international correspondence and similar interests in sonic exploration, we kept it fun, we kept it simple, but we think the rhythms and the dubs stand up quite nice.

Stix Records, a sub-label of Favorite Recordings, proudly presents Push Push, the new album by acclaimed producer
Taggy Matcher aka Bruno "Patchworks" Hovart (Voilaaa, Mr President, The Dynamics, Uptown Funk Empire,
Metropolitan Jazz Affair, Da Break, …). After the success of his previous LP Singasong, Taggy Matcher returns with 8
tracks exploring his wide range of Reggae & Dub influences, each time magnified by a fine crew of vocal guests as LMK,
Birdy Nixon, Alexandra Charry, Hawa, John Milk & Elodie Rama. With a great sense of authenticity, they all bring their own
touch to Taggy Matcher's compositions and covers. Always faithful to its inspirations, brilliantly produced, Push Push is
your new invitation to follow the Lion to Zion.
The album starts with "Push Push", a title already released last year as a vinyl single 7", in collaboration with rising
singer LMK, who you may know from her successful previous reworks on Taggy's last album ("No Love Allowed", "My
Man"). Sharing the same love for the early 80's Digital Rub A Rub productions, lyrics are about street harassment of
women… with a pinch of humor!
On "Little Things", Taggy invites old mate Birdy Nixon for a cover of an early rocksteady classic by Hemsley Morris.
With the vintage bounce we love combined with modern sounds and productions, the song is all about tenderness and
simplicity.
"Volvere Mañana", the song has this very cumbia hip move with the participation of gifted singer Alexandra Charry
from Cali in Colombia, where they both composed the song. Then, Taggy invited Boris Pokora to play the "gaita" local flute
to give the song its proper Colombian Caribbean coast flavor.
The album continues with "Two Dimes" featuring longtime collaborator Hawa (from Mr President to Mr Day and other
numerous projects). This shaky disco reggae rockers is all about getting ready for the party… but with two dimes only!
"Q Fashion" is a song full of wittiness and self-mockery wrote during the first Covid-19 lockdown. Parisian Soul singer
John Milk was stuck in Paris while Bruno was in Lyon. On this minimalistic digital reggae tune, they give the ingredients to
perfect your next quarantine outfit.
Discoish reggae tune "Get Enough" featuring Birdy Nixon has a simple and successful recipe: just mix a big dose of
Lovers with the same amount of Rockers and you've got this 100% soulful song.
On "Suit and Tie", Taggy and John Milk go Pop with this version of Justin Timberlake, that fits perfectly with John's
tender and mellow style.
Finally, Elodie Rama with Taggy Matcher pay tribute to Erykah Badu and her legacy to the Soul music scene at the end
of the nineties. The mood is jazzy, mellow and warm, with a tiny Lee Scratch Perry early 70's vaporous vibes.

The music on this full-length record by The Idealist, released on Höga Nord Rekords could work as a soundtrack for a Voodoo-horror-movie. It´s creepy acid-driven sound, often with a 303 as the centrepiece of the rhythm, is the kind that you´d expected to being chased in a maze of trees to.

Something threatening lies in The Idealists second release on the label. His Leftfield/techno is both a dark cold electronic adventure with metallic percussions, both a distorted image of a vengeful nature; a forest working as a single entity to find and feed on human souls.

Just like contemporary acts like Ramadanman and Appleblim, The Idealist contributes and develops a sophisticated yet primal branch of modern, uncompromising electronic music.

Looks like we are hittin’ a milestone here. A little background has to be provided though, in order everyone to fully understand why it took us that long to put out this Album, which was already
announced at the dawn of 2020. The ELECTRIFIED project started almost 2 (TWO) years ago, with the first vocal takes recorded a few days ahead of Cannonball Weekender in November 2019. Everything seemed fine and in good working order so the release date was
planned and announced for june 2020. All self financed, self conceived and self realised in that style that’s a point of distinction of our small group of labels. Then the CVD damn thing kicked in. “So What?” some of you would be very entitled to ask. And,
believe me, I’d be on the very same
#sowhat lines as you, only that each member of our team reacted to the shitstorm in his very different and individual way. While folks all over the world were confined home
setting up new ventures, creating new labels and dedicating themselves to something productive not to get psychologically annihilated by the media induced fear, our project was totally disrupted instead. It took the first wave to fade away to gather our stuff
together and movin’ the production forward. Anyway, whatever the reasons, the album came ready and mixed by march 2021. So here we are. Further than the two acclaimed singles
“Break Free” and “Sitting On Top Of The World”, the tracklist includes 6 completely new songs, a smashing cover of
Massive Attack’s “Unfinished Sympathy” and the rearrangement of the two classics
“There Are No Winners” and “Mother Got A Way”. The style goes from modern funk experimentation to a more classic soul and a groovy electronic ender foreseeing the future of this beautiful music.

On paper, a full collaborative album from Doom and space age production from Jneiro Jarel

can't fail. In practice it's even better. Doom is in the form of his life here. JJ produced all the

tracks, Doom provided the bulk of the vocals and compiled the cut and paste skits. Doom

recorded the album while 'banished' from the States and back living in london. He references

British culture throughout the album, name dropping British institutions, and possibly being

the first emcee to reference My Big Fat Gypsy Wedding. Jneiro recording the beats in the dirty

south, got into a UK state mind, and turned in heavy hip hop production that leans towards

grime, dubstep and British techno. The album will appeal to fans of classic Doom material.

JJ's tough, far out hip hop production will appeal to fans of Dilla, Flying Lotus and el-p. It also

features guest appearances from Beth Gibbons, Damon Albarn and Khujo (goodie mob).

Album artwork is by graffiti artist Steve Powers aka Espo.

Grains is the debut album by Numinos on Mille Plateaux. The Cologne-based producer, DJ, author and lecturer has been writing the tech-reviews in "Groove" for many years, tests equipment for various specialist magazines and teaches at the Institute for Pop Music (IFPOM) and Institute for Computer Music and Electronic Media (ICEM) of the Folkwang University.In his current creative phase, he conceptually deals with the topic of "granular synthesis".
A "grain" is thus, to a certain extent, a tiny spectral snapshot from a larger musical context - an infinitely expandable, flowing intermediate state. This is also where the connection to the cover motif is found that shows the negative of a photograph of a wild field and has been taken Bernd Adamek-Schyma: The negative as an eternal intermediate state between the motif and the developed image. And despite the fact that "Numinos" has a fully equipped studio with a wide range of instruments, the 20 Euro iPad app "Borderlands Granular" turned out to be the creative catalyst that enabled the trained pianist to implement his sound ideas with direct haptic influence.The app gives the Cologne-based sound artist the opportunity to extract tiny fragments from the sample based on their specific tonality, to recontextualize them and thus work out structures that are not audible at the original tempo.
The results are polyrhythmic sound scenes that appear harsh, artificial and strange in a moment, only to transform into contemplative, warm and familiar frequency stratification minutes later. Numinos deceives the listener in many ways. Above all with the supposed rhythm that does not exist. Because in fact almost all granular clusters within the pieces run in completely asynchronous loops. The addition of a simple kick drum then forces the brain to suddenly hear apparent triplets, quintoles or dotted eighths in these mathematically completely chaotic structures, which are purely fallacy.

Heavy Roots 12" backed with a massive dub. Full colour jacket.
Ltd To 300 Copies

Originally released in 1992, Brutal Truth’s ‘Extreme Conditions Demand
Extreme Responses’ was produced by the legendary Colin Richardson and
is widely regarded as one of the most important and influential grindcore
records of all time.
Reissued for the first time ever with ‘Full Dynamic Audio’ this release is a must
have for any fan of Grindcore.
Pressed from the original master tapes. These albums have been specially recreated using ‘fdr’ - full dynamic range mastering - allowing the music’s nuances
to shine through and giving these classic albums a more ferocious and dynamic
sound, enabling the listener to immerse in the full audio heaviness like never
before

Danish producer Uffe presents his innovative third LP Words and Endings, which further explores the boundaries between post-punk, dub, UK bass hybrids, and spiritual and free jazz. His first full-lengthouting on genre-breaking London imprint On the Corner, Uffe utilises the techniques that have long fueled his reputation as a purveyor of offbeat sonic fusions and delivers a diverse trip that leans into unusual territory with thrilling and unpredictable results.

Ryan James Ford is back on Clone Dub Recordings with his promising first full length album! After relocating to Berlin Ryan realized how much influence the soil of his home town have on him. Exshaw, Canada, where the home of Heart Mountains begin. Ryan has tried to capture his youth and musical influences over the years. Growing up in an area were the interaction of man and technology was more than palpable. Stories of haunted areas... swimming in the cold, strong current river with people disappearing... going to raves in the nineties. Exploration, optimism, youth and and living there forever... His memories of Exshaw are all translated in the sound design and programming on this 14 track album ranging from almost cinematic pieces to full on dancefloor belters. Artwork by Delphine Lejeune & Jonathan Castro.

All Nations Records come again with a proper 7inch full of roots flavour. The man at the control of the label, Simon Nyabinghi, here calls out the talent of Belgium producer Unlisted Fanatic who
deliver once again a heavy riddim track, topped up by some deep horns arrangement from the Moonshine Horns. The riddim is sufficient by itself so when you hear the deep melodical voice of
MariJah on it with her uplifting lyrics hailing for more consciousness in this world, it ends up with a wonderful tune that surely will convince every great selector to put it on their deck now and for years
to come. Once again, just flip the records over to get the full dub treatment. This is roots dub music at its best.

Elite Beat is a musical collective from Portland, Oregon with a history spanning back to 2006.

'Selected Rhythms' captures the finest moments from all three of their ultra limited cassette series 'Casual Rhythms'.

Packed full of DIY dub mixing, cosmic orchestration and raw, percussion driven polyrhythms, the recordings have been remastered and put to vinyl for the first time with sections from Casual Rhythms Vol. 1 being re-shaped into previously unavailable single tracks.


Recording plays a big role in the Elite Beat creative process. The studio as an instrument. Much of the Elite Beat music is mixed in an all-hands-on-deck dub style approach - live with an analog mixer and loads of FX being thrown and dubbed in real time. The sound is genre-less rhythm music with an emphasis on live playing, free form expression and technique that borrows from soundsystem culture. Inspiration can be heard from all parts of time and place. Some Ethio Jazz, Black Ark psychedelia, Exotica, Malian blues, even Haight-Ashbury in the summer of love. Each member an accomplished musician in their own right, Elite Beat thrive on collaboration. 2018 saw the release of their astral-Saharan jams with celebrated Taureg guitarist Mdou Moctar.

The players get together every Wednesday evening, sometimes to chat, sometimes to play. The 'record' button gets pressed when they find what they are searching for. For this crew it's all about 'Casual Rhythms / Harmonious Lifestyles' - if things don't fall under that mantra, then it's got to go. 'Less is more' for Elite Beat and their cosmic sounds.

Andy Compton is undisputedly one of the hardest working producers in dance music. With over 40 albums and 150 EPs released either solo or as part of deep house legends The Rurals, the Bristol-based producer just can't stop creating profoundly funky and vibey music that works on loose-limbed dancefloors, beach bars and shag carpets alike.
He has appeared regularly on quality labels as diverse as Lumberjacks In Hell, Hed Kandi, LARGE and naturally, his own vital imprint Peng.

Andy's latest long player for Tangential Music is a collaboration with LA artists Irantzu Pujadas and Brad Kent under the name Blue Dream.
Aptly titled: 'A Trip To LA' the album is a deliciously louche and laidback twelve tracker of pure LA heat. The project began as many great ones do, without a plan. Visiting Brad's studio to check out his huge vintage analogue synth collection in search of new sounds for The Rurals, they got to thinking...and jamming. With Brad on the dusty old drum machines, Irantzu on the microphone and Andy in synthesiser heaven, Blue Dream was born.

Their first and equally good album 'California Dreaming' was released on Peng in early 2019 and now we are here with a second round of perfectly realised dream-like grooves. Think of the sun-facing vibes of Shuggie Otis, Eddie Chacon, Bobby Caldwell or Roy Ayers at his most relaxed and add a passionate knowledge and experienced grasp of electronic forms. They make this seem easy goddammit.

'I Wanted To See You' sounds like Khruangbin with a 303, 'You Want Me Back' with its mid-tempo shuffling groove, saucy squidge bass line and seductive soul house vocal is pure daytime at Houghton Festival happiness, like Crazy P in the hot tub.

At no point are we required to sweat. Lie down if you must, stand up and sway if you're ready. This could be lovers music or just for you alone. Irantzu's vocals throughout are whispers and purrs, evocations of humid love drenched in reverb and easy living. Sunset music.

The singles 'I Wanna Go Home' and 'Sandwich Dub' don't deviate far from the endless feeling of hazy cinematic sunshine, one a sultry plea for intimacy, the other a heavily dubbed-out slice of musique française amour.
'Trip To LA' with a vocal more than suggestive of the Balearic classic 'Sueno Latino', spare guitar chords and a prodding repetitive bass line creates a feeling of slinky bliss.

Every track is full of sensual melodies and the space required to be truly funky. Press play and invite a bit of California magic in...

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

A Mountain Of One are set to return to the musical landscape with their brand new track “Custard’s Last Stand”, released 30th July through new label AMORE via Above Board distribution. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

“Custard’s Last Stand” EP is out 27th August, and will come with an incredible Denis Bovell Dub Remix, as well as another new track “Stars, Planets, Dust, Me”. The full EP package will come with a dub remix from musical pioneer Dennis Bovell.

The forthcoming album will be released this autumn. The whole project has been mastered then remixed for a forthcoming album by the legendary Ricardo Villalobos.

When they first started performing, they quickly became one of the most-acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach, led by Mo and Zeben’s almost telepathic understanding.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal records that have stood the test of time, criss-crossing folk, jazz, dance, rock and psychedelia.

A Mountain Of One have collaborated to create a coming together of music and virtual reality. With NYX VX, the band have developed a virtual world, one that will help provide inspired opportunities for artists looking to identify, connect and engage with audiences on multiple levels. This is the first stage of a new world that people will be building out and inhabiting, as venue for performances, home for musical and visual archives, space for play and exploration. Welcome to 'Stars, Planets, Dust, Me'.

Over the last few years, NuNorthern Soul has established a number of traditions, most notably annual releases that provide a snapshot of the label’s output while also considering their suitability for certain seasons. Perhaps the most popular is founder Phil Cooper’s Summer Selections series, which each year showcases warm and sunny gems mined from a range of forthcoming releases.

The 2021 edition of the sampler, the third in total, may well be the best yet. Six tracks deep and as subtly varied as you’d expect, the entertaining set features tracks from a mixture of exciting newcomers, experienced producers and long-time members of the NuNorthern Soul family.

To kick things off, Cooper introduces us to Marshall Watson, an American producer who later in the year will release two five-track EPs on the label. ‘A Door To The Sky’, which will feature on the Sunsets On Larkin Part 1 EP, is sumptuously sun-kissed, with delay-laden electric guitar textures and sparkling electronics reclining over a tactile electronic groove.

LOVA’s ‘Echoes of Memories’, the track that follows, recalls the atmospheric, synthesizer-sporting new age Balearica popularised by Quiet Force in the late 1980s. The Italian producer was signed after bringing a USB stick of productions to one of Phil Cooper’s gigs in Ibiza; his Gypsophilia EP will be one to check when it drops later in the year.

Gusk’s ‘Sketch #4 - Anafi Nights’ is seductive and exotic. It’s a crackling and atmospheric musical painting that daubs starry stabs and yearning melodies atop a bubbly, lo-fi drum machine beat. It provides a perfect snapshot of the Greek musician’s Mediterranean Sketches EP, which gathers together home recordings made between 1997 and 2003.

Arguably even more immersive and enveloping is ‘Aqua Blancas Sunrise’ by Tambores En Benirras, the musical project of Cumbrian selector DJ Gripper. A slow-burning delight full of intricate musical flourishes –think drifting female vocalizations, Indian-influenced percussion, twinkling pianos and haunting clarinet motifs the track is one of the many highlights on the Barrow in Furness based producer’s forthcoming debut album for NuNorthern Soul.

To round things off, Cooper has chosen to offer-up cuts from two very experienced artists. George Solar (real name Georg Boskamp) is an Ibiza-based German producer who has been collaborating and releasing music since the late 1980s. ‘Infrared’, his contribution to Summer Selections 3, is a languid and glassy-eyed slab of slow-motion Balearic dub. His Los Ra-yos Del Sol EP will be one to look out for later in the year and is his debut solo release.

The sampler’s final missive fittingly comes from long-time friend of the family B.J Smith, a regular contributor to NuNorthern Soul releases who has reunited with Huw Costin – a vocalist he previously worked with on Smith & Mudd releases for Claremont 56 for a double A side single due later in 2021. ‘Sun When You Come’ is as warming and hazy as you’d expect and features Costin’s emotive, reverb-laden vocals and mazy electric piano solos rising above a suitably horizontal groove. It provides a stunning, sunset-ready conclusion to another superb set of Summer Selections.

Ready to chant down Babylon with musical fire and brimstone, none other than Bukkha returns to the revered Moonshine Recordings with a truckload full of sound system music in Roots Dub and Stepper style. Ten organic heavyweight cuts on 2x12" - strictly dubwise, no compromise!

Originally from the US and now residing in Spain, a musical veteran with a career spanning more than a decade, it's safe to say Bukkha runs things when it comes to fuelling sound systems. On top of his long-standing involvement in the thunderous Moonshine Rec. discography, the prolific artist maintains a consistent record of top-shelf releases on numerous famed record labels within the global melting pot of Dub-influenced dance music, including System Music, Dub-Stuy, Lion Charge, and so on. His 'In Roots Vol. 1' debut LP features seven talented guest artists from around the globe, the extended Dub family in full force and effect - connected to Bukkha through previous projects, shared tours and overall engagement in the scene. The symbiotic nature of the collaborations can be heard and felt as big stacks of speakers lend their voice to the musical message. Rebellious sounds for the healing of the nation. In a conscious stepper style, the release marches through original future classics - whether instrumental or led by the Rastafarian teachings of Mowty Mahlyka, anthem brass melodies by JahWind All-Stars, harmonica meditation by Hazeldub or Don Fe's notoriously brilliant flute virtuosity. With true to the roots delay and reverb effects in the original Dub fashion, the album pays tribute to the technique pioneered by the likes of King Tubby, nothing less than a next-generation torchbearer. Sound system music, as timeless as its cultural heritage.

Paint A Picture are incredibly pleased to announce news of their first release: a fully
remastered, licensed reissue of rediscovered British 7” Funny Situation recorded by Reflex - a
band put together by drummer David Humphrey (Public Image Ltd., Sparks, Mike Oldfield) and
privately released on his Star Records back in 1981. With the original record now changing hands
for in excess of £200 and just in time for a 40th anniversary release the reissue - remastered and
cut by Frank Merritt at The Carvery - will include updated original artwork whilst also containing an
insert providing further details and context on the release.
Recorded a few months after seminal Britfunk tune "Southern Freeez" at the very same Vine
Yard Studios and with the same engineer Simon Sullivan - the release unfortunately suffered from
a lack of marketing and proper distribution but almost forty years later the record is now receiving
the attention it deserves and with a price tag to match.
The A side presents a beautiful mesh of funk and soul styles with influence from other Britfunk
bands of the time but with a more overt jazz and rock feel fusing a tight rhythm section with smooth
vocals and climaxing in a guitar and saxophone duel.
The instrumental Version Two provides a fresh approach with the addition of dub FX and
Indian percussion with the use of a tabla added to the mix.

marbled 12" Vinyl

Seamless to our first release of the Stone Techno series we are presenting the second edition of this unique concept. Each artist has been given a sample library consisting of recorded minerals from the Ruhr Area. The task was pretty clear, to create a track exclusively out of those sounds. The results are remarkably differing from each other and showing the huge creative potential of this project, which is a collaboration between the world famous Ruhr Museum foundation and The Third Room collective.

While Matrixxman delivers us an ambient driven masterpiece, RODHAD shows us his impeccable skills to create an ever-evolving tension in his dub techno influenced approach. Yan Cook on the B-Side is exploring the full potential of those samples to honor the industrial era and its machines, while T3R-Resident VNNN. is hailing with his hypnotic grooves the late hours of an extensive musical journey.

We hope you enjoy this imposing line-up of artists and its different styles within the release. There is more to be coming. Stay tuned!

From the cosmos of Stretford on the outer realms of Manchester comes the kaleidoscope view of the world according to Psychederek and it's an explosive trip of shoe gaze soaked balearica.

Lead track Screamadereka heads straight into orbit from the get go with a stop off to thank the likes of The Cocteau Twins & Death In Vegas for their influence along the way. Huge drums, spaced out synths, warped guitars & a fully charged love in style vocal all wrapped up in a mushroom flavoured microdot with a pretty empowering finale.

I'm Alright steps up the ante a bit more and goes all Tomorrow Never Knows on us but with added warehouse acid squelch & rasps throbbing out from a beat that is broken (but not break beat!) whilst still retaining the psychedelic tendencies of its predecessor.

Sean Johnston steps off the ALFOS rocket ship and joins forces with Duncan Gray for their Hardway Bros Meet Monkton Disco Dub take of Screamadereka and the result is a hive of cosmic mutant disco brilliance whilst Manchester's finest 6 piece See Thru Hands turn I'm Alright into bombastic focused UKG style wig out duet complete with new vocal takes by DNCN for seriously wonky floors & like minded souls.


Includes beautiful insert artwork by Emma Evans

Canadian collective The Hello Darlins, dubbed “the Broken Social Scene of
Americana”, release their first full-length LP Go By Feel on June 11, 2021.
With over 500,000 combined Spotify streams for their initial three singles, it’s
safe to say there’s a lot of anticipation for their debut album. The buzz began
building almost immediately after the Calgary, Alberta-based Americana collective debuted on the scene in early 2020, with American Songwriter calling the
group “the product of a talented pool of session musicians craving more,” while
Americana UK stated, “It’s great to see a band put together by the talented
folks who would usually be ‘behind the scenes.’”
So, who exactly are The Hello Darlins? The seeds of the band took root in 2016
when vocalist/producer Candace Lacina crossed paths again with keyboardist/
producer Mike Little after first meeting at a recording studio years earlier. Once
reconnected, they soon found themselves making music together in between
their work with other artists, an impressive list that ranges from Shania Twain
to Charlie Major, The Road Hammers to George Canyon as well as the late B.B.
King.
In short order, the couple began inviting others within their circle to participate, including Murray Pulver (Crash Test Dummies), Clay- ton Bellamy (The
Road Hammers), Matt Andersen, Dave and Joey Landreth (aka The Bros. Landreth), Russell Broom (Jann Arden), and ace fiddler Shane Guse.
On Go By Feel, this incredible collection of talent has forged a hybrid of country,
gospel and blues like no other, from the heart-wrenching ballads “Aberdeen”
and “Prayer For A Sparrow” to the classic country-rocker “Mountain Time” and
the album’s soulful title track.
Making music influenced by times of joy and sorrow is natural for Candace and
Mike, as both come from families with long musical traditions within Canada.
It all adds up to The Hello Darlins preferring to add “North” to the Americana
genre, a more than symbolic gesture that’s in line with a musical vision that will
continue to evolve as soon as the band gets a chance to play live with a lineup that could potentially consist of anywhere between five to nine players on
stage.
Until then, audiences will now be able to fully savour the tunes, musicianship
and production of Go By Feel, proof positive that teamwork ultimately leads to
exceptional results.

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

There has always been a Reggae inuence in the music of El Michels Affair. From their cover of "Hung Up On My Baby" done in a Reggae style, to the general sound and approach that permeates Leon's production style. While recording Bailey's 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would t more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called "dubs" or "versions" and are typically instrumentals with ourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the inuences of today. He wound up straying so far from the traditional format that it didn't seem right to use the word `Dub', hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee "Scratch" Perry on the "Ugly Truth" version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track's title the next. On "Awkward take. 2" Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be oating in space has now been anchored by the addition of drums and bass. "Faded", a version of "Paper Tiger", is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam's voice drenched in delay and echo. "Champions" features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they're in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

Last autumn Leng Records welcomed a new name to the roster, Greek DJ/producer Lex, via some warming and colourful tracks on the label’s 10th Anniversary LP and sampler EP. Now the Athenian has returned with his first full release for Paul Murphy and Simon Purnell’s popular imprint.



Real name Alex Andrikopoulos, Lex first rose to prominence in his home city of Athens when he ran the Radical Soundz record shop during the first decade of the millennium. More recently his reputation has spread worldwide thanks to his association with Leng, a recent 12” on B2 Recordings and DJ sets that frequently join the dots between disco, house and techno.



His first full EP for Leng is arguably his most musically expansive collection of tracks to date, with a swathe of guest players – keyboardist Artis Boriss and drummer/percussionist Harold Perez most prominently – swinging by to help bring Lex’s vivid musical visions to life.



For proof, check out lead cut ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness in which Lex and his musical associates layer steel pan style melodies, spacey synthesizer flourishes, eyes-closed electric piano solos, warming chords and jangling guitars atop a heady bass guitar line, unfussy drums and sweaty pots-and-pans percussion. The track’s effortless evolution, which slowly unfurls before rising towards a gorgeous and joyous conclusion, is testament to the Greek producer’s dancefloor instincts.



You’ll find more low-slung, dub disco-influenced bass on the exotic ‘The Jamail Pass’, where mazy and feverish organ solos and rolling hand percussion provide a platform for Paqua member Alex Searle’s Nile Rodgers style guitar sounds. The track’s inherent funk – emphasized by occasional bass guitar solos and fills, as well as some tumbling synth sounds – is apparent throughout the track, something that only adds to its smile-inducing allure.



Closing out a very impressive first EP on Leng is ‘Angels of Rhythm’, a hazier, faster and more intergalactic excursion that cannily combines the low-slung bass of dub disco with the intoxicating vibes and warming dreaminess of deep house. The track’s intoxicating late-night feel is partly due to an undecidedly cosmic spoken word vocal from sassy singer Harrier Summer, though Artis Boriss’ pitch-bend-sporting synth solos and fizzing electronic noises certainly help. Driving but also deep and groovy, ‘Angels of Rhythm’ offers a memorable conclusion to a very impressive EP.

The latest installment of Four Flies' exclusive 12-inch vinyl series for DJs features Neapolitan-born producer pAd putting a dance-floor spin on "Manhattan" and "Philadelphia", both from Alessandro Alessandroni's soundtrack to Alfonso Brescia's Sangue di Sbirro (aka Knell, Bloody Avenger, 1976), a pulp/noir score that perfectly embodies Alessandroni's take on the Italian approach to blaxploitation (the main theme is clearly inspired by Isaac Hayes's music for Shaft).

pAd gives each Alessandroni original the double treatment, with a "daylight" and a "nightclub" version. His daylight "Manhattan" combines disco-funk with elements of 80s electro, while his nightclub one is more openly nu-disco/nu-soul and incorporates hip-hop and jazz-funk sounds. In its turn, "Philadelphia" is reworked into a delicate, soulful downtempo track (nightclub), as well as into a dub/leftfield & slow funk version with a sprinkling of Arab influences (daylight).

pAd's brilliant reworks fully respect the spirit of the originals while giving them new life in the present, where the music of a genius like Alessandroni is finally getting the recognition it deserves.

MAT is proud to announce the forthcoming release of ‘The Side I Never See’, by Hugh Small & Brian Allen Simon. Hugh forms half of Scottish post-punk duo Vazz, whose work was the subject of a recent retrospective by Belgian label Stroom. Brian is known best for his solo project Anenon, under which name he has released four full length albums and multiple remixes for artists including Ryuichi Sakamoto.

An improvised recording of Brian playing over the Vazz piece ‘Kazimierz’ catalysed this long-distance collaboration; 2000 feet up a mountain in Andalucia, Hugh heard the recording on a broadcast of Brian’s dublab LA radio show. Immediately taken in by Brian’s playing, the pair soon established contact and began discussing the possibility of working to create something new together.

The rest, as they say, is history: the results are fully realised in ‘The Side I Never See’, a shimmering suite of ten compositions for piano, soprano saxophone, synthesizer and guitar. In Hughs words… ‘so, what is it? It’s Ambient-Punk, Abstract-Jazz, Disaffected-Classical, it’s whatever the fuck you want it to be!’ :-)

‘The Side I Never See’ will be released on Melody As Truth in early August 2021, as always on vinyl and digital. Mastered by Stephan Mathieu, Artwork by Michael Willis.

8 years after DJ Sotofett’s last visit to our label(FPST1) we received some tracks perfectly timed AND perfectly primed for that elusive number 75 release. This time teaming up with Rex Ronny, we’re stoked to have him back and even more stoked about the music engraved in these grooves. DJ Sotofett and Rex Ronny embodies a solid 7 track EP for Full Pupp with a strong Sci-Fi pallet of Cosmic-Italo racers. “Epidermis” is not another conjectural Nu-Disco record but a strong Disco-Dub infused travel in rhythm and melody. The entirety of the EP is bound together by four Galactic synth tracks and three driving Disco cuts, all with an individual approach. It’s a solid nod to the excellence producers of Italian Disco and UK left-of-center dance music has taught us since the late 70’s. Rex Ronny (aka Ronny Nyheim from PsyPal fame) was challenged by DJ Sotofett to play all synth parts live in the studio, for Sotofett to mix the material in his new studio set up for ultimate Cosmic, Dance & Dub sonics. To perfect the rhythm suction, congas by Stiletti-Ana (from Jesse) was added in the mix, and LNS contributed with a harmony-bridge for maximum pathos. Full Pupp HQ May 2021

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

TROJAN JAMAICA / BMG is proud to announce the release of U-ROY’s final full-length, SOLID GOLD U-ROY. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-ROY on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting — a key foundational element in the development of rap in its nascent stages in the 1970s — U-ROY left behind an unmatched legacy which is clearly on display on SOLID GOLD U-ROY, with its guest appearances including ZIGGY MARLEY, SHAGGY, MICK JONES of THE CLASH, SANTIGOLD, SLY & ROBBIE, DAVID HINDS of STEEL PULSE, and more. The album arrives on
July 16, 2021.

SOLID GOLD U-ROY is being heralded today by the release of “MAN NEXT DOOR” (Feat. SANTIGOLD). One of the great reggae songs of all time, the track features an indelible guest appearance by the incomparable Santigold. “Man Next Door” is a beloved reggae standard written by John Holt and released in 1968 by his group The Paragons. U-ROY sampled the song in 1982 for “Peace and Love in the Ghetto” on his Original DJ album. Pre-orders of SOLID GOLD U-ROY will come with an instant grat download of “MAN NEXT DOOR”

A limited edition of 500 copies on white vinyl. First ever reissue of Alternative TV's "Action Time Vision", compiled in 1980 and featuring the group's 7"es from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue.

What Mark Perry says:
"It wouldn't be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself.

My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77.

That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums.

I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes…"

Originally conceived as a medium for Chicago-based multi-media artist/activist Damon Locks's sample-based sound collage work, Black Monument Ensemble (BME) has evolved from a solo mission into a vibrant collective of artists, musicians, singers, and dancers making work with common goals of joy, compassion, and intention. A genuinely multi-generational collective, ages of BME members range from 9 to 52 years old; members include instrumentalists and fellow IARC recording artists Angel Bat Dawid and Ben LaMar Gay. Their debut album Where Future Unfolds was released in 2019 by International Anthem glowing praise; landing at #3 on Bandcamp's "Best Albums of the Year," #25 on WIRE Magazine's "Best Albums of 2019," and being repeatedly dubbed "The Best Album of 2019" by BBC/Worldwide radio titan Gilles Peterson. Locks & BME's new album NOW was created in the final throes of Summer 2020, following months of pandemic-induced fear & isolation, the explosion of social unrest, struggle & violence in the streets, and as the certain presence of a new reality had fully settled in. Set up safely in the garden behind Chicago's Experimental Sound Studio, the music was recorded in only a few takes, capturing the first times members of BME had ever played or sang the tunes. For Locks, the impetus was more about getting together to commune and make art than it was about producing an album. In his words: "It was about offering a new thought. It was about resisting the darkness. It was about expressing possibility. It was about asking the question, 'Since the future has unfolded and taken a new and dangerous shape... what happens NOW?'"

CRIMSON/BLACK COLORED

Indie Retail Exclusive Crimson & Black color vinyl Originally conceived as a medium for Chicago-based multi-media artist/activist Damon Locks's sample-based sound collage work, Black Monument Ensemble (BME) has evolved from a solo mission into a vibrant collective of artists, musicians, singers, and dancers making work with common goals of joy, compassion, and intention. A genuinely multi-generational collective, ages of BME members range from 9 to 52 years old; members include instrumentalists and fellow IARC recording artists Angel Bat Dawid and Ben LaMar Gay. Their debut album Where Future Unfolds was released in 2019 by International Anthem glowing praise; landing at #3 on Bandcamp's "Best Albums of the Year," #25 on WIRE Magazine's "Best Albums of 2019," and being repeatedly dubbed "The Best Album of 2019" by BBC/Worldwide radio titan Gilles Peterson. Locks & BME's new album NOW was created in the final throes of Summer 2020, following months of pandemic-induced fear & isolation, the explosion of social unrest, struggle & violence in the streets, and as the certain presence of a new reality had fully settled in. Set up safely in the garden behind Chicago's Experimental Sound Studio, the music was recorded in only a few takes, capturing the first times members of BME had ever played or sang the tunes. For Locks, the impetus was more about getting together to commune and make art than it was about producing an album. In his words: "It was about offering a new thought. It was about resisting the darkness. It was about expressing possibility. It was about asking the question, 'Since the future has unfolded and taken a new and dangerous shape... what happens NOW?'"

DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017 – 2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics.

LNS from Calgary, Canada, is rooted in braindance, electro and acid. Releasing 12inches on both her self-titled imprint LNS and Sotofett’s Wania - LNS, whilst in the studio, has often pointed out “the lacking blend of dub and electro in dance music”.
DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels, without forgetting his afro, dub and jazz releases on Honest Jon's London.
Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of K.O. by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS & DJ Sotofett take control with El Dubbing, evoking an effect-heavy demeanour, typical of the Sex Tags Mania soundworld that DJ Sotofett is responsible for, this time rubbing up against solid electrified rhythms. The hypnotic moods carry over to Dúnn Dubbing's deep delays, freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side-A with sparse rhythms to perfection.
A meaner turn introduces Side-B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. Vitri-Oil exposes a tumbling sound design, fog-lit chords of material fragility and nosedives - with an alive mix that wallows and grows in equal measures. The side closes with Shim, a classic drift between house and techno releasing sensual euphoria with the albums first big surprise – grand strings.

“LNS wanted to sell her TR-606, while my reply was for us to make a track with the 606 sounding so fresh that she'd never even think about selling it again” Sotofett states. Side-C proves the artists to be some of the most singular producers around with album centrepiece The 606. Clocking in over 10 minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove.

Side-D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. Synchronic Bass Blort is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On Sputtering the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience.
DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. Their sound is free and live, simultaneously wondrous and sharp.

The Turbo Guidance quest keeps going on. Our musical roughnecks decided to seek help from a wizard. They needed to empower their earing sense and their dancing skills like mutant elves. Luckily the mighty Mali-I was living in the nearby forest and had something special to share...

In his hightower, it took Mali-I years to find and cook secretly the delicate mixture. It's forbidden to name the ingredients, but once you taste it you immediately feel the bouncy chords and dub delays rising. Play the mighty sound of the "Fallow Tales" and enter into the blue magic power. Full versatility to expand your mind and to reach a parallel astral plane. Exactly what our heroes need to face the coming storm. Next step is going to be darker...

*Sprinkle your ears with the red powder to increase the musical experience*

Vinyl sweetly pressed in 400 limited copies (no repress business) with a riso insert printed in two colors (blue and black) on a Munchen Pure Rough paper 150g/m2 (at Studio Fidele, Paris).

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Marillion’s 2001 Studio Album ‘Anoraknophobia’ Now Available On Kscope
“A collection full of grace and tenacity, thoughtful and thought provoking and
not without moments of real clarity and beauty” - Classic Rock Magazine
Marillion formed in 1979 and have sold over 15 million albums worldwide.
Rightly regarded as legends of progressive rock, the band have also continued
to evolve and have been keen to embrace the possibilities of the internet, using
innovative ways to interact with listeners resulting in an incredibly loyal legion
of fans around the world.
‘Anoraknophobia’ is claimed by Marillion to have been the first crowdfunded
album in the music industry, completely financed by the fans, allowing the
band to record free from any record company pressures. The album is one of
their most absorbing records to date and finds the band departing their neoprogressive rock past in favour of elements of rap, groove, trip hop, blues, jazz
and dub elements to create a more contemporary sound.
Now issued on Kscope, this is a chance to revisit a band in truly inspired form
with a record far ahead of its time.

'New limited 12” from XCPT posse coming under label headz new alias: Sativa Club. Three tracks exploring a wide spectrum of jungle inspired club music.

Phonato Riddim spreads instantly a bulging bag of breaks merged harmonically with heavyweight drum patterns, room quaking subs, and synapse bending vocal samples emerging forcefully from hazy soundscapes. Sound of Silence opens the flip side in a beatless smoky environment where blurry hypnotic frequencies quickly get squashed in a rolling drum break. Finally, the 176 bpm full-throttle payoff of Amen Drake: slabs of processed amens, paradroid percussions, gently layered synth lines and fucked up wet-dream vocals.

Hypnotic dubwise galore on both sides.'

Pitch Black’s Futureproof, a landmark in New Zealand electronica, finally gets a vinyl release 23 years after it first came out.

The album distilled two years of relentless touring of New Zealand into a sweeping colossus full of epic soundscapes and rumbling basslines, pounding rhythms and mind-bending effects, showcasing Pitch Black’s dubwise styles to full, bass-bin busting effect.

Suburban Bases favourite duo Krome & Time rare DAT studio masters saved!
Krome & Time provided the very first Suburban Base release that launched the now legendary label, under the alias Kromozone catalogue number SUBBASE 001 set the tone for the label that became and integral part of the development of Rave and Breakbeat Hardcore into Jungle and Drum & Bass!

So who better to kick off the relaunch of such a revered brand than the legendary duo that started it all KROME & TIME! With brand new sleeve design from original SubBase illustrator Dave Nodz!

Having accessed a long forgotten storge facility and discovered a treasure trove of Suburban Base master tapes, we struck gold when we found box after box of unreleased and exclusive master recordings from some of the biggest artists within the SubBase family.

The two exclusive tracks that make up this release were huge dubplate only specials and have never been released as vinyl singles or digitally. Finding the master copy of the once thought lost 'Original Juggling' was incredible, the song is much asked after and as an album exclusive on the 1995 Telepathy Dub Plate Special was never given a full release only appearing on that project.

‘Non-Stop Rocking’ was a 1995 dubplate recorded specifically as an album exclusive for the legendary Drum & Bass selection album project and stayed exclusively on dubplate receiving extensive club and radio play whilst remaining only available within D&B selection.

These sought-after tracks remained stuff of legend never having had a digital release or full vinyl release… until now! From the original master tapes of Suburban Base we present this slamming 12inch from Krome & Time