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The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo in September 2019. Featuring collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents.

The trio – Ric Flo, MAEAR & Tony Bones – have spent the last two years redefining soulful hip-hop – the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered territories fans are yet to hear from them as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The
project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.

Jungle Brown’s debut album ‘Flight 314’ has achieved more than a million streams without any budget for marketing or promotion. They spent much of 2016 in Apple Music’s ‘Best of 2016 category, featuring on Spotify and SB.TV, were requested to curate an exclusive playlist for Tidal and attracted attention from New York with Beats 1’s very own, Ebro.

They’ve shared the stage with the likes of De La Soul, Ghostface Killah, Lowkey, Akala and Donaeo, played major festivals including Glastonbury, Boomtown and Lovebox as well as a huge number of clubs shows across the UK.

A Colourful Storm presents a mini-album by Kallista Kult, the newest and most shadowy members to join the label's eclectic roster. Rumoured to be comprised of a core group of modern Oz improv and DIY luminaries with ties to Brandenburg and Black Rock, the sprawling, deeply evocative tracks draw comparisons with the Ghost Box axis, that Michael O'Shea record, Inga Copeland and, dare we say, those rare-as-hen's-teeth Threshold Houseboys Choir CDR's. Edition of 150 with printed lyric sheet and insert.

L'Épée is a four-piece band comprised of Emmanuelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) and Lionel + Marie Limiñana (The Limiñanas).
The collaboration came about last year, when husband and wife duo The Limiñanas recorded an album ('Shadow People') with Anton Newcombe. A track featured French musician, actress, model and muse Emmanuelle Seigner on guest vocals. When she came into the studio to record the group dynamic clicked and a natural collaboration ensued.
Inspired by melancholic movie scores and the mythology of Rock'n'Roll music, from Lou Reed to the Rollin Stones, 'Diabolique' is infused with light, shadows and layers of psychedelic fuzzy guitars.
It was recorded between Lionel and Marie's home place Cabestany (FR) and Anton's Cobra Studio in Berlin.
The collective have named themselves L'Épée, meaning "the sword" in English, after it came to Anton in a dream.
They will be touring Europe later this year.

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

'For his first EP in two years, and second release on Leicester's Grade 10, Forever returns with a six track exploration of hazy, dub-inflected sounds entitled 'In Your Own Time'.

On the A-side, the tense atmospherics of 'Depth Charge' give way to the sun-kissed chords and dancehall-esque rhythms of 'Watch This', finally being rounded off with the record's title track - a sub-driven 7 and a half minute roller, where percussive patterns and dusty chords drift and weave amongst each other.

Side B continues on to more dub-leaning tracks, with 'Alpine' picking up the pace and echoing pulsing synths in to the abyss, followed by a drugged out 'Opioid mix' of the title track - a drum and bass combo sat somewhere between Memphis rap and classic soundsystem rumblers. Closing out the record is 'UR', plunging in to the depths with sonar-like samples and echoing vocals like ghosts trapped in the machines.'

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

“True Lies” was originally released in 1999 on Daft Records and showed Dirk Ivens (The Klinik, Absolute Body Control) once again changing the game to create another refreshing and groundbreaking album. Suggestive industrial with distorted vocals, metallic rhythms and noises perfectly balanced with up tempo dance beats and technoid rhythms.

Production on this work is shared with the talent of Ivan Iusco (Minus Habens Records, Nightmare Lodge) and Eric Van Wonterghem (Insekt, Monolith).

"True Lies" is available for the first time on vinyl record with all original songs plus extra tracks from the singles "Two Faced Man" and "Broken Meat", some old compilations and a bunch of cover versions to classics by Suicide, The Normal and The Klinik. Limited edition of 550 copies on double blue colour vinyl with gatefold sleeve, printed inner sleeves and numbered card.

Masks is New York duo comprised of Max Ravitz aka Patricia (L.I.E.S, Opal Tapes, Ghostly) and Alexis Georgopoulos aka Arp (RVNG Intl, Mexican Summer, DFA, Smalltown Supersound). The aptly titled EP2 is (yes, you guessed it!) their second release, preceded by their Opal Tapes debut Food Plus Drug (II) — which gained support from Legowelt, Mount Kimbie and Boomkat — and a compilation appearance on esteemed Beats In Space 15 year anniversary 3xLP.

On paper, it might strike one as a strange duo. Ravitz’s work leans heavily on house and techno, but his recent work has been focused towards emotive melodies of IDM. And Georgopoulos has been busy creating minimalistic classical music for RVNG and most recently made waves with his critically-acclaimed album Zebra, which combined elements of 4th World and cosmic jazz.

All the tracks making up EP2 were made as live performances. No overdubs. Nothing "in the box". Just classic hardware and a strong vibe.

Opener "In This Room" is the sound of a NY summer sunset, pivoting on a hypnotic rotation of orange-hued chords. "Emotional Response" displays a different side of the group. Combining a 909 with a piano tug, it could provide that perfect soundtrack to a cathartic cry on the dancefloor.

On the flip side, "In Another Room" is dreamy techno par excellence, before sliding into an acid chugg for the ages. Bookworms smears the sun of "In This Room" into a 4am whirl, all purple lights and mountains of fog.

The cover artwork features the artwork of Sanou Oumar, a recent emigrant from Burkina Faso, West Africa. He graduated from the University of Ouagadougou in 2007 and moved to the United States to seek asylum in 2015. He currently lives in the Bronx and works in Harlem, New York. In 2018, Oumar had his first two-person exhibition (with Matt Paweski) at Gordon Robichaux in New York, and in 2019 (with Elisabeth Kley) at South Willard in Los Angeles, curated by Matt Connors.

If you've yet to succumb to the charms of Children of Zeus - and there can't be many out there who haven't - then this "odds and ends" LP offers a neat introduction. Five of the seven tracks have been plucked from the Manchester crew's previous full-length excursions, while the other two - seductively soulful two-step garage reworks of "Vibrations" and "Slow Down" by fellow Manchester resident Zed Bias - have previously been almost impossible to get hold of. Setting aside the club-ready remixes, what "Excess Baggage" proves is that Children of Zeus are one of British music's most essential outfits right now, delivering sensual and life-affirming cuts that brilliantly blend the best aspects of hip-hop, R&B and modern soul.

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

History of Heat is an eroto-intellectual retelling of a love story. It is the scholarship of heat, and the sources of its production in the body: desire, exaltation, anticipation, fear, rage and mourning . It is a fable circulating through the nerves, pumped and distributed by its own mythologies. Through different chapters, we follow the heroine of our story from the initial desire to love, the sensual pull which oscillates between the grotesque and sacred longing of the flesh (‘L’Enfer en pleine lumière’ translates to ‘Hell in plain sight’)...to the sudden ghostlike appearance of the Other (Apparition) as a projection of the dream. We enter into the spiritual, the seeing visions and the blindness of love. ‘Animal’ speaks of instinct, the smell of the beloved, already the deconstruction of the divine back into the realm of the physical. The title track ‘History of heat’ sings the hesitation of love, the precipice of openness and the invitation of the contract: Dance with me... (This is where the metaphoric marriage is forged). In ‘Perfection’, the pressure which keeps the relationship on the pedestal of the absolute stunts and paralyses love. Unrealistic expectations of the self and the other person creates the push and pull of the not wanting what one wants and the fear to get what one has been asking for. ‘Tiny engine’ speaks of mechanical attachment, attachment to the lover as habit, as a second nature, and the call to the other person as a magnet. In ‘Ditectrice’, the madness and the folly of separation spawns war and confusion. It is the violent refusal to live without the other... the pleading with god. ‘Feed him’ follows with resignation and exhaustion. Love has become the beast of burden who eats away at itself insatiably. ‘War text’ brings forth the devastation, the peace treaty and finally the metaphysical Divorce. In ‘Guttermoon’, the vita contemplativa begins, the blood starts to cool, the scene is a ghost town. ‘Wrong god’ similarly winds down as an ode to remorse and mourning. Finally, ‘Cinema Verité’ closes out the album with a mistrust of ‘reality’: the heroine becomes a philosopher, she becomes an artist... did the relationship ever exist or was it a projection “In front of a movie screen” ?

History of Heat is an experimental narrative and cinematic pastiche of all original and self recorded material. A chaotic mix of sounds both analog and digitally produced recalls a warlike interpersonal breakdown. The mood established by the lyrical content of the piece is meant to be demanding, enclosing the listener within a unique and compelling cocoon of otherworldly sound. the Album is framed within a discursive love story which reflects larger relational problematics and interpersonal traumas. looped vocals act as incantations woven in and out of lyrical singing and spoken word. The instrumentals embrace chaos and intensity. Improvised violin and broken down beats compliment and balance the melancholic overtones which flutter above off the grid rhythms in this charged ficto-personal account.

rendon Moeller is an artist that needs no introduction. The South African born living in the US, like few of his generation constantly challenges himself with new concepts and ideas, has incorporated techno, dub, jazz, ambient, sound design, to his works throughout the years. Never chased the limelight, but instead the work, one idea after the next, one project after the other, restless. He has collaborated with labels like Echocord, Third Ear, Electric Deluxe, Prologue, Mord to name some. "Materialize" is his first work for Vibrant Music.
From his early days in various bands in the 80's and 90's, Brendon liked indie, shoegaze, ambient, moody, cinematic scapes.
With Materialize he came full circle, reaching out to his early influences, but with the knowledge and experience of many years of exploration of modular synths, to create a concept space that feels intimate, and at the same time vivid evoking visual imaging.
It explores the time space through a minimalist, stoic approach.
It tells the story of how we are all linked into this tree of music we call electronic music, wherever each one is coming from.
A celebration of life through the mind of one of today's scholars of electronic music.
A liberation from the strictness of tempo and metronomes, to reach to a more creative state.
Vibrant Music continuous the quest, to bring to you unique collaborations and sides of artists that we like.

DJ Support
Mantra & Double O (Rupture), LTJ Bukem, Noisia, Gremlinz & Jesta,Muffler, Kenny Ken, DJinn, Two Hungry Ghosts, DnB Dojo and more.

Dub echo, hip-hop lyricism and heavy guitar fuzz are boiled down into a heady, characteristic musical brew.

On “Dreaming Is Dead Now”, multi-talented wonder Skinny Pelembe meditates on grief, heartache, stunted aspirations and fresh possibilities in post-recession Britain. For his debut album, the Johannesburg-born, Doncaster-raised artist weaves together a patchwork of personal and musical touchstones; memories and observations are dreamily laced together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage.

Tipping a hat to West London broken beat as much as My Bloody Valentine, the album was co-produced by Malcolm Catto (of The Heliocentrics, who’s previously worked with Yussef Kamaal, DJ Shadow, and Madlib), who helped to distil down its bounty of ingredients into the record’s distinctive flavour. Tough, tight-programmed rhythms are washed over with fuzzy overtures, and the title track is the product of a studio session with a foundational drum & bass duo (credited under the covert alias of The Bleeding Edge). It’s the rare kind of record where the messy, in-between musical spaces are given a light to shine.

First discovered through the Gilles Peterson- and Brownswoodfounded Future Bubblers programme, Skinny has since made it onto Peterson’s iconic Brownswood Bubblers compilation series, performed and collaborated with fellow Future Bubbler Yazmin Lacey, and been tipped by the likes of Ghostpoet and James Lavelle. Praise has also come from The Observer, The Quietus and Huck, with previous singles “Spit / Swallow” and “I Just Wanna Be Your Prisoner” bumped up onto heavy rotation on BBC 6 Music’s A-List. He’s also been in demand for live sessions with The Vinyl Factory and Worldwide FM, and supported Nightmares on Wax and Maribou State.

We are proud to showcase more Bay Area family with the release of a new EP by Doc Sleep who cut her chops as a DJ in San Francisco’s vibrant scene the past decade. In 2016 she made the move to Berlin and became a resident of Room 4 Resistance. Since 2013, she's been the co-owner of Jacktone Records, which specializes in techno, ambient, and experimental electronics. In 2016/2017 she released her first 12's on the Hot Mass-affiliated Detour Records and Bottom Forty. She also co-wrote a track with Bezier and Nicole Ginelli, titled “Stranger,” that we released on the ‘Primes’ EP in 2017. Her latest release, ‘Your Ruling Planet’, was released on Jacktone in March 2019.

We first heard “Creme Fraiche” on Doc’s soundcloud page and begged to release it. The track has the feel-good vibes you get on early morning dancefloors as things are winding down or up. Paired on the A-side is the pulsating dark jam “Never Eating Again” that previously appeared on ‘Run The Length Of Your Wildness V.2’ and, like that compilation, proceeds from this track will be donated to Ghost Ship Fire victim Cherushii's family. On the B-side are two remixes from close friends of Doc. First up is a fresh breakbeat remix from Violet: DJ, producer, boss of Naive records, co-founder of Rádio Quântica, and mina resident shaking up Lisbon's nightlife. Second is Berlin-based producer and fellow R4R resident, rRoxymore, who presents an innovative remix of future-facing techno and bass variations adding her own vocals on top. For this release we’ve teamed up with Jacktone to release a cassette version, our first in this format, featuring two peak-time bonus tracks. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in jacket designed by Eloise Leigh with neon pink and lavender gradients echo morning sunrises with a collage of dreamy elements using a photo by Doc of Club Toilet in Detroit.

A real 90’s modular old school techno shit from the archives. 150 copies limited

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!