The fourth chapter on Childhood intelligence alternate sub-division corporation “Sunrise Inc.”.
5 Neo-Braindance Artifacts have been discovered, written and produced by “Outer Order” of the Planetary Instinct Alliance. Mystic analogue rhythms and vintage sounds, a vortex of haunted synth landscapes & latin grooves, equipped with heavy SH101 low-end frequencies… intimately resonating with hypnotic melodies & voices. A homage to the past, a generational self-prophecy of a producer with music in their ancestry. Welcome to the sound of intelligence, which is another new sunrise, of a series of endeavors into a common future
Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.
“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.
16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.
Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.
“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”
Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.
This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.
The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”
The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop
Panthera is back at the Bordello with his most energy-packed release to date. Synthsizer Hits III is forged in the heat of Hi-NRG, the romance of italo and the daring synthesizer hooks of 1980s Europe. A thick rasping beat pounds above a juddering arpeggiator line before hedonistic surges ignite “Fumare”, an achingly addictive opener. Vocals are toyed with, used to increase the potency of the chosen machines and sounds. A circling chant infects “Lucifera” as a joyous melody takes hold of this modern Summer anthem, euphoric notes ushering in the dawn while speakers and strobe throb. There is a palpable power that permeates the 12”. “The Magic Touch” sends strings sailing skyward as rich percussive textures take root below. From this fertile ground, a sensational ode to the synthesizer flowers. Vocoder lyrics, pulsating rhythms and keys that are truly fantastical. “Toccata” finishes this analogue celebration. Slow burning with disco inflections, this finale soon shows its true colours. Daring counter melodies frolic, from the elegant and refined to the brash and broad, in this mirrorball inspired last dance.
A collection of transfixing, storm-like compositions, "Drifts" draws you into its heightened sense of quiet, reveling in iridescent, tranquilized vapors - one part ambient Classical, one part Club-adjacent ambience.
Pitched, reduced, sampled and re-sampled, the album's glowing, elliptical abstractions - using piano, harp, strings & modular synthesizer - explore the emotional terrain between aftermath and renewal, blending the unstructured immediacy of improvisation with the elegant sculpture of composition.
"Drifts" represents for its maker a newfound interest in shadow and mystery, each track a shifting terrain, a collection of clues, a scene set in a larger story, the effect cumulative.
Featuring collaborations with Patrick Belaga, Marilu Donovan (LEYA), and Takuma Watanabe, the album's cinematic suite of impressionistic, ambient works invites the listener into a vast, mapless space of dreamlike non-linearity where interior and exterior landscapes bristle with intimacy and electricity.
A1. Cars
Smoove tears this classic apart to reveal its raw, drum-heavy break and solo bass riff. Epic synth lines weave through the extended rework, seamlessly transporting us from the 1980s straight into the modern era.
A2. Midnight Rider
An unexpected choice, but irresistibly funky nonetheless. The signature 12-string guitars are replaced with lush Fender Rhodes and Hammond organ, both pushed forward in the mix. The drums hit hard, backed by crisp percussion that drives the groove home.
B1. You Belong to Me
Opening with an extended Fender Rhodes intro, this rework builds gradually with real strings, subtle guitar licks, and groovy drums. Smoove reshapes the structure, dubbing out Carly’s lead chorus vocals to spotlight the stunning harmonies underneath.
B2. Searching
Luther’s vocals are utterly transcendent here. Smoove slows the pace and strips back the arrangement, leaving only Fender Rhodes and a string orchestra to accompany the soulful performance — a truly breathtaking moment.
(LP, purple cristallo vinyl, continuous mix) Legendary Belgian artist Push returns with a truly special project: an 18-track mini album, presented both on CD digipack and a special vinyl edition in a limited color, where every track connects into a seamless journey.
Each vinyl side plays as one continuous mix and so does the CD, a flowing soundtrack that guides you through deep, cinematic ambient electronica worlds.
Evolving strings, delicate rhythms, and immersive atmospheric layers blend into each other without interruption, creating a unified listening experience that feels more like a film score than a traditional album.
This is Push as you’ve never heard him before — pure emotion, timeless movement, and a full ambient chill out trip for the mind.
We’re proud to present the sixth record of our limited series, which marks the 15th year of our label.
On the A side we have legendary Analogue Cops with their track “Iron fist”: a raw-acid jam with a funk sample which makes this so unique and special.
A2 is all about Bologna finest Dj Rou with his “051 Deep Journey”: the title speaks itself for this hot track that matches soulful pads and funky high keys.
On the B side we have Riviera resistance: label owner Alessio Collina and Deep House master Deep88.
“Spoken Randomly” by Alessio Collina is pure House without compromises: old-school bassline, floating pads and a neverending groove.
“Darlin” by Deep88 is a pure bliss: melancholic atmosphere, dreamy strings and arpeggiated synths which make this jam deeper than expected.
Five years after the release of 'The First Circle' Neroli celebrates its 25th anniversary with a new volume.
'The Second Circle' picks up from where its predecessor left and expands its aestethic into more musical territories.
The album moves from still ambience and majestic uplifting strings to quirky electronics, it explores expansive fusion landscapes till landing into Detroit beatless territories accompanying the listener to multiple musical places and to embrace this unique spiritual journey. Featuring original unreleased compositions by: Nu Era, Lar Bartkuhn, Molinaro, Claude Young jr, Joe Claussell, EDB, Jordan GCZ, Other Lands, Stephen Lopkin, Meftah, Zopelar and Volcov.
On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.
With Rêves, Senbeï unveils the most intimate and ambitious work of his career. Known for his unique blend of electronic music, hip-hop, and Asian sounds, the beatmaker reinvents himself here in an orchestral and cinematic universe, a far cry from his previous albums.
Inspired by the great soundtracks of children's adventure films—The Goonies, The Neverending Story, Charlie and the Chocolate Factory—Rêves is a sonic immersion where childhood nostalgia meets the emotional power of an orchestra.
A unique symphonic production.
For the first time, Senbeï has called upon a 15-piece orchestra, recorded in conditions close to those of film music. Strings, wind instruments, and electronic textures echo each other to create a rich, evocative universe, filled with luminous melodies and magical tension. This album is not just a collection of tracks: it is an adventure to be listened to like reading a story or watching a film.
Ever developing his evocative style and dynamic sphere of influence, ASC's latest EP is afurther evolution of the atmospheric legend's repertoire that simply cannot be missed.
A1 - Everybody
ASC opens his latest Spatial EP in subtle fashion, classic genre effects punctuating anunsettling intro before deliciously crisp drums seize the stage and build continually with hi-hats generating an urgency to the vibe. A series of micro melodies delivered withtrademark technical flair float across stunning breaks, before a rousing baseline caps off asuperbly evocative mix which delights the listener and dancer in equal measure.
A2 - Seconds To Midnight
Straight in with a purposeful 808 bassline, ASC delivers another powerhouse display ofbreakbeat fluency, jumping between chunky, juddery drum patterns with a choppedversion of a lesser-used but very effective break sample last heard on ASC's very ownclassic, Polaris. Epic vocal effects surround Seconds To Midnight with a tense aura whilesuitably pitched strings and synth work are dusted liberally throughout the piece.
AA1 - Restless Dreams
Amen fans unite! ASC's love for the most classic of breaks shines through once againwith an enthralling workout for the ages. Introduced with eerie pad work and a solobassline, the atmosphere is crafted through a plethora of pads and samples while theamens thunder on with a detailed array of editing skills on show - thumping kicks andsnares keep the energy levels high bar after bar leaving nothing in their wake.
AA2 - Core Memories
A gorgeous female vocal opens Core Memories, a track which uses the classic breakfeatured on the first ever Spatial release, Force Majeure. Here, a refreshing set oftechniques are on show from ASC as he carves and chops the break to the tune ofcautious horns, highlighting the serene yet uncertain backdrop to a wonderfully varied anddetailed collage to close this distinctive and progressive EP from the label head.
Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.
A1 - Unraveling
Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.
A2 - Forced Perspective
A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.
AA1 - Surface Scan
Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.
AA2 - Mixed Motive
Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.
Bruno Bar returns to Beast River Records with “Movin’”, an almost-peak-time but still classy New York house workout featuring Marie Berson’s whispered vocal that blooms into a soulful hook, in that Floorplan-inspired space of gospel energy and driving drums. Tour-Maubourg flips it into a
dubbed-out Balearic trip with Rhodes, strings and elastic bass for longer sets. “Feel The Dub” goes deeper with bass up front and tasteful vox, while “U Can Dance 2 Jazz” closes with jazzy chords, a sophisticated sax line and a garagey lift
In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!
Deruta Records opens its catalog with “Dela Secu” ,a two- track EP from acclaimed Romanian producer Cezar Lazar. The EP stands out as a musical manifesto, challenging the techno-house scene’s drift into mainstream quicksand.
“Solo 2305” introduces the EP with orchestral strings and a polymetric woodwind theme anchored by a steady groove, crafting a soundscape where tension and release unfold with precision. The woodwinds’ evolving motif lends a lyrical contour that completes the arrangement. “Yaka Yaka” turns toward intricate syncopations, its rhythmic complexity enriched by subtle orchestral inflections. A central polyrhythm drives the track, heightening its tension while adding depth to the groove.
Mastered by Vlad Caia and cut to lacquer by Mike Grinser, the tracks are crafted for the dancefloor, shaped by Cezar’s signature lyrical motifs that define his standing in minimal and experimental techno.
This debut sets the tone for Deruta Records: boundary- blurring and unapologetically underground.
Remix Ep with a broad spectrum of styles and some big named remixers. Side A kicks off with Colin Dale's remix of Dark Male, which is a typically throbbing techno cut for the dance floor, the Second track on Side A is David Duriez pushing an acid house remix of fellow French act G-Prod. On the flip is MOY's step into big bass and fast based breaks led drums which will make your head explode as they build their intensity, the second track is Derek Carr remixing The Vast Profound, his house rework offers all you might expect from this veteran of the scene - looped hooks and deep pads. Lastly The Vast Profound digs into the deeper end of house music layering up pads, strings and lush melodies. Comes with an insert "Remix track selector" on coloured vinyl limited to 135 sale copies.
The Spacebunny tracks were originally released on Surreal Recordings back in 1996, the original mix being licensed to Danny Tenaglia's Twisted Secrets (vol2), since then it has become a party classic with original copies changing hands for over £100 on discogs.
The Mingers "Fancy A Shag" track was released in 2002 on Deeper London (a subsidiary of Surreal Recordings) with a limited press of only 200 copies. The track is floor filler and was often one that would kick things off in the early stages of the night, featuring big tribally beats, a fat funky bass and emotive strings.
Los Angeles polymath Tyler, the Creator turns his past into vivid technicolour here on his latest offering. Narrated by his mother, the album unfolds like a scrapbook of childhood memories and adult reckonings, moving between swagger and nostalgia. Tyler's production - lush with horns, strings and jazz-inflected chords - recalls the warmth of Flower Boy but with the unpredictability of Cherry Bomb. 'Noid' wrestles with fame's paranoia while 'Hey Jane' confronts moral conflict with startling candour. 'Darling, I' and 'Like Him' offer soulful reprieves amid the chaos. Guest spots from Lil Wayne, Santigold and Lola Young expand the palette without distracting from Tyler's emotional centre. Messy but self-aware, this captures an artist still discovering who he is.
System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.
****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.
It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.
System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.
The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.
As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.
a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
c A3. See Thru Hands - Hot City 3:57
d A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]
[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]
[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]
[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]
System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.
****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.
It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.
System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.
The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.
As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.
a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]
[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]
Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.
Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.
Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.
Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.
On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.
The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.
Record Two captures Classic’s renewed energy in the 2010s.
Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.
Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.
On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.
Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.
d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2
d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2
d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2
d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2
d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2
The latest release from the Villains Inc. camp delivers an Italian-made electro gem.
And as the saying goes: Villains do it better! After the soulful "Time To Go Back EP" back in 2022, the "Generation V EP" (limited to 300 copies) marks the arrival of fresh talents joining the collective. This new wave steps in after the tragic loss of some of the label key figures, carrying the torch and keeping the Villains Inc. spirit alive.
Side A opens with "Vaccin", a hypnotic yet funky electro-bass track by Deepvision and Lefka. Despite their young age, the duo U.A.G.L.I.O. shows remarkable musical maturity and delivers a powerful debut. Expect to hear much more from this awesome team in a near future.
Next comes "FM Resistance" by Jack Bags (half of Dr. Boomer). A synthetic ride of swirling URish style sequences, darkened by moody strings. Breakdance moves guaranteed on the dancefloor!
On the flip, Index Case teams up once again with the late X-Beat (RIP) to provide a furious "Against" anthem, calling for "revolution against the government, against the police". The frantic rhythm and unsettling atmosphere push the track into gloomier territory in a powerful way.
Closing the record, Antizer0’s founder Zora Neti concludes the 12" with "Stereocash_(Pt.2)", a downtempo storm built upon eerie voices and mental sororities. A haunting yet masterful finale.
The legacy of the original V members lives on. Special mention to Simonloop aka Urbanmagic, one of the OG Villains, whose artwork on the B-side captures the grit of the music and makes the vinyl worth owning on its own.
From start to finish, Generation V EP is a masterclass. Crafted with the unmistakable Villains Inc. sound by label owner Gab.Gato, it’s pure underground quality. This record is dedicated to the memory of X-Beat and Yo Flava. Once a Villain, forever a Villain. Support the underground!
Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.
This vinyl release is hyper-limited, with just 500 pressed for the world.
The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.
"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!
Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!
"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.
This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!
This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.
Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.
The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.
The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.
Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.
DJ Support: DJ Harvey, Kelvin Andrews/ Balearic MIke (Down to the Sea and Back), Howler (Pikes/Totem Projects) Joe Morris (Shades of Sound/Pikes)
New vinyl only 4 track EP of reinterpretations on the fledgling Oswego Music label, from the mysterious Lovehandles.‘Unrequited Dub’ sees a quintessential eighties tune and Larry Levan favourite reframed as an epic 11 minute balearic slow jam- with scarce copies available digitally getting plays in recent months from Kelvin Andrews/ Balearic Mike (Down to the Sea and Back), Howler (Pikes/Faith/Totem Projects) Joe Morris (Shades of Sound/Pikes) and even Mr Harvey Bassett seeking out a copy. One for sunsets and heartbreak. Next up-‘Stars before the Sun’ is a recut of a thrift store Hare Krishna disco funk cut. WIth solina strings, drum breaks and a positive message to live for now. ‘Crystal Lites’ first on the flip; heads to the disco. Versioned here with whacked out pinging delays and reverbs. It’s been reworked before, but never like this. ‘It’s a Long Shot’ second on side two, is a 12” mix that never was- an eighties Balearic drum machine pop favourite,extended for djs. Its ethereal vocals, minor keys and spaced out fx perfect for late nights and early mornings. ‘The Drum-Set (skit)’ rounds things off here- a short and sweet reminder of the international, multiracial origins of rhythm. Perfect for mixtape intros and interludes.
The Coney Island Rhythm Band join the Sosilly gypsy family with their first track 'Dancing Down The Path' feat. Jerk. Together they deliver a party hands in the air throwback any good disco & house fan should know!
''E.R.M.B'—Contemporary disco that oozes funk thanks to its plump bassline and jaunty, clipped pianos, it's augmented by slivers of classic breakbeat goodness, vibrant strings and an earworm vocal hook and ravey piano chords combine in melancholy fashion to provide a dramatic juxtaposition. BIG!
The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.
Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.
Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).
The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.
Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.
During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.
After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”
I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?
So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.
To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.
Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.
TJM’s Small Circle of Friends is considered one of the masterpieces of the Golden Era of Disco. Moplen takes TJM’s Small Circle of Friends and stretches it into a deep, hypnotic disco odyssey. Built on a chunky, vinyl-warm groove, the remix layers hi-hats, funk-soaked bass, and crisp claps over lush, orchestral strings and soulful vocal refrains.
Moplen’s trademark touch is all over this one, extended breakdowns, patient builds, and EQ sweeps that make the dancefloor hang on every bar. It’s the kind of track that keeps the energy grooving and sophisticated. A timeless, vinyl-ready rework for true disco connoisseurs.
The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.
Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.
Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).
The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.
Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.
Braiden, an artist synonymous with the UK’s underground continuum, makes a powerful return after his hiatus with Raindance, a four-track EP of original productions on his own Off Out imprint. First emerging during the post-dubstep era with standout releases on Joy Orbison’s Doldrums and iconic Dutch imprint Rush Hour, Braiden carved a unique path as both DJ and producer through long-standing residencies on Rinse FM and NTS, where his boundary-pushing selections became essential listening.
The record channels the energy of the club and the scene he emerged from, blending freshly explored influences into a focused yet diverse body of work.
The EP opens with its title track, an unruly and visceral cut that channels early grime’s skeletal power into a hypnotic techno landscape. Clattering claps, cascading strings and a guttural bassline drive it forward, shimmering with movement and wired with an unpredictable edge. Touch The Sky, featuring a vocal contribution from multidisciplinary artist KESH, follows as a meditative centrepiece — a weightless, emotional interlude hovering with restrained melancholy and awe. X5x ramps up the energy again, urgent, euphoric, and devastatingly effective, its acid-licked synth line and thunderous kicks recalling the vastness of late-night warehouse catharsis. Lagrangian Point closes the EP on a different axis altogether; a time-dilating drone that strips away the percussion entirely while retaining the physicality and ethereal tone that runs through the EP.
Also a visual artist and photographer, Braiden’s finely tuned aesthetic runs through the record, with him self-designing and photographing the artwork printed on a full colour sleeve. Raindance arrives as a meticulously crafted statement: fierce and cinematic, a notable evolution from his earlier single-led releases, with additional mix engineering support from friends Joy Orbison and Objekt.
Keep off the Traxx are travelling at 33rpm and running on time. Baker Lou and Jubi Leigh have climbed aboard the express train and they’re not slowing down. You better mind the gap as these conductors won’t be hanging around.
Opening the debut EP is ‘Slow Down’, a high-energy A1 packed with euphoric synths, catchy vocals, and an acid line that pays homage to the golden era of early progressive house. Next up, ‘Mind the Gap’ delivers an irresistible fusion of raw, gritty house and classic UK garage, complete with chopped vocals and synth hooks that stick in your head long after its over.
‘Brain Dance’ brings a bouncy groove and a fresh return to acid, weaving melodic progressions that keep the energy flowing. Closing out the record is ‘That Noise’, a contemporary psychedelic progressive journey, layered with lush strings and immersive textures.
10 years ago in 2015, The Golden Lion in Todmorden opened its doors under the guidance of Gig & Waka, Cloudwater brewed their first ever beers, the dance floors of Manchester got introduced to the world of Supernature Disco and from his spare room at home in Bolton Chris Massey started Sprechen.
What followed over the next decade has been a wild ride of amazing people, memorable (though fuzzy!) parties, creativity, art, expression, performance and at the centre of it all of course, the music.
Sprechen has never been one style or sound. A reflection of varied musical tastes without any limitations of style or genres, just a passion to share good music.
Over the last decade, Sprechen has been lucky enough to both work with and meet many like-minded cosmic creatives that share this mindset and that have all played a major role in the story.
Ein Null is a collection of original tracks from some of Sprechen's nearest & dearest who, for the last 10 years, have helped shaped the label via releases, remixes or performing at events.
It's wonky & weird, banging & beautiful, cosmic & consciousness-expanding and it continues to connect the invisible dots of club music and more abstract listening experiences.
From basements & beyond to sunsets & psychedelic socials...we are pleased to present this electronically charged selection of soundscapes courtesy of like-minded musical humans including; The Utopia Strong, A Certain Ratio, Lena C., Gina Breeze, Low Pulse, Psychederek, Lindstrøm, Supernature Disco, PBR Streetgang and of course Chris Massey.
Limited to a run of 300 vinyl with double-sided screen-printed sleeve.
More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.
Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.
No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.
Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.
The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.
“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.
The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.
The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.
“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.
Sex Tapes From Mars sister imprint, Hot Plates turns to junglist misbehaving, with chopped and screwed, pitched down and twitchin’ vocals, merging with ragga choruses. It’s hardwired to the dance but swerving every expectation - soulful chants spiral out like smoke in UV, tangled in a fever dream of gun finger pressure and rewound fragments.
The flip is driven by a deep, bellowing bassline, paired with ominous yet soaring strings. Each part contradicts the next, but somehow it holds, glued together with that early jungle lawlessness. Still sounds raw, still sounds vital - as grittily dangerous now as it was in ‘93.
The original release came as a limited white label 32 years ago, now grailed and silly bob on ‘cogs, lovingly remastered and cut loud, restoring the bite while adding clarity and bottom-end heft that rattles ribs.
With the planet in free fall and the dance scattered, the sentiment hits harder: “All we need now is love and unity”.
Proper summer system tackle. Not a repress - a resurrection.
Just when you thought every holy grail must have been unearthed by now, here come Basic Unit with their deep cover late 90s masterpiece Timeline, the dankest darkcore-electronica-tech step album you've likely never heard.
Ben England and Rick Dallaway formed Basic Unit and debuted on Moving Shadow in 1997. They also moved on Nocturnal, a cult label that reached beyond D&B to platform some more experimental sounds. It was a short-lived label with some ominous footnotes — 'Several people involved with Nocturnal have vanished or are dead' reads the label's Discogs description. But in 1998 Nocturnal put out Timeline, a CD-only album from Basic Unit that cut a sharp, scathing figure against most D&B of the era. England and Dallaway embraced the album format as a chance to go deep, inhaling their inspiration from early days Autechre as much as Source Direct and boiling down the results to a steely, minimalist framework.
The likes of 'Resolution' are desolate, stark workouts that feel fractured and raw enough to align with early grime, complete with the strings, but the rhythms move in mysterious formations designed to confound like the most bloody minded electronica artists of the late 90s. Blown out bass and scattered flurries of machine gun breaks, squashed tundra drones that sound like they were pulled from 10th generation VHS b-movies and bit-crushed animal grunts fit for a Mega Drive beat 'em up. The sonics are redolent of the times, but Basic Unit chisel them mercilessly into their spartan vision, deploying brain-frying beat science with a stern restraint.
It's the kind of record that gives so much while holding so much back — a deadly tease that has flown under the radar for too long. This is the sort of shock reissue material that gets us gassed at Sneaker, and we're proud to be giving it a re-boost and a first ever outing on wax, all the better to shock you out.
The follow up to the critically acclaimed 'Environments', the new album takes a new, more melodic orientated path for the band.
The album is truly epic; 14 tracks and 57 minutes of strings, choirs, sea sounds, cellos, light beats and, of course, everything that made the first Environments album great.
Since the original release of the CD in 2008, and subsequent releases in the series to 'Environment 5' in 2014, there has been growing demand for vinyl and so for the first time this year we bring 'Environments 2' in that format. (CD TOT 62 still available)
Sechs legendäre Trance-Tracks aus den 90ern & 2000ern – in den erfolgreichen Talla 2XLC Reworks – auf exklusiv farbiger, streng limitierter Vinyl!
Mit seinem Label Technoclub Retro! lässt Talla 2XLC unvergessene Trance-Klassiker mit viel Liebe zum Detail kraftvoll und emotional neu aufleben.
Techno Club Retro Vol. 1 ist eine Zeitreise durch die Trance-Geschichte, präsentiert durch die ersten sechs erfolgreichen Veröffentlichungen des Labels. Perfekt für Liebhaber, DJs und Sammler gleichermaßen ein Statement auf Vinyl!
Side A:
• Dito – Shadows (Talla 2XLC Remix): Das Original aus 2000 – melancholisch und hypnotisch – erhält eine treibende Dynamik mit Gänsehautmomenten.
• Triple Concept – Tonetwister (Talla 2XLC Remix): Von 1998, bekannt für das ikonische NASA-Sample. Der Remix liefert eine wuchtige Bassline und modernes Clubfeeling.
• Alpha Breed – Epic Future (Talla 2XLC Remix): Ralphie B’s Meisterwerk von 1999, jetzt mit psytrancigen Akzenten – energetisch und atmosphärisch zugleich.
Side B:
• Talla 2XLC – Follow The Meteor: Ein Remake des Vectrex-Hits von 2004 – zwischen mystischem Drive und Adrenalinschub, perfekt für die Peak-Time.
• Plastic Angel – Schatten 2021 (Talla 2XLC & Para X Remix): „Schatten“ von 2001, neu aufgelegt von zwei Trance-Veteranen – emotional, druckvoll und voller Tiefe.
• Traveller – Bright Sign (Talla 2XLC Remix): Hardtrance trifft Psy – der 2002er Kulttrack bekommt fette Breaks, bunte Strings und kompromisslose Energie
Energy Fields is Gus Paterson’s vinyl debut. One of the brains behind Bokhari Records, this four tracker melts disco, italo and house into a creamy funk fondue. Staggered bleeps and crisp percussion introduce the title piece, samples echo as a squelching thick bassline drops. Countering the fudgey strings are sparkling synthlines, bold brassy analogue bursts tethering the track to the floor. Although tempos drop for “Emotive Feel,” the energy remains high. Robust keys are further fortified by blasts from vintage machines, a free flowing groove lifted into astral jazz. Sharp beats open the flip for “Cyborg Dateline.” Soon, Paterson’s melodic skill takes over. Layers of inspiration are held together by ambling notes. Echoes of cosmic and disco are adopted, a contemporary twist delivered through the complex intertwining of elements. Paterson takes us into the stratosphere for the finale. “Jetpack Joyride” maintains the rhythm of its predecessor, pouring on the funk through daring piano lines and rich strings of double bass. A trip into the beyond from this debutant.
JULIAN JONAH featuring MARVA KING - BETTER MAKE ROOM FOR LOVE (FULL LENGTH & 7 INCH VERSIONS)
IZIPHO SOUL is thrilled to announce that producer extraordinaire JULIAN JONAH has a new creation - featuring on vocals, the marvellous MARVA KING. To have an artist of this magnitude is a massive coup - we are truly blessed.
The enchanting soulful boogie production of BETTER MAKE ROOM FOR LOVE is permeated with real instruments - lush strings, infectious bass guitar riffs, synths, horns and combined with Marva King’s soulful vocals - it’s a perfect concoction!
Another all-time classic from the extensive back catalog of the legendary Miami songstress Gwen McCrae.
"90% Of Me Is You" is instantly recognizable, it's been sampled countless of times by some of the most seminal Hip Hop artists ever (Large Professor, Jaylib, Mobb Deep & more) & is a bonafide "Rare Groove" sure-shot that never loses it's appeal & is always in demand with DJ's & producers. Perhaps it's the pairing of the languid guitar & strings, or Gwen's sultry vocals & that steady breakbeat that keeps people hooked some 40 years after it's original release Whatever it is, it's classic material from start to finish!
Backed here with it's original b-side slow jam "It's Worth The Hurt" this super-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.
