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Limited Gold Vinyl Pressing!
Out of the ashes of Raceway Recordings and Racetrax, rises the new label from Sterling Moss - Rebeltek. With well over 100 tracks out on vinyl, Sterling decided it was time to start his own 12inch project again, so 2014 sees rise to the Rebeltek Alliance - an infusion of stomping 303 inspired Techno beats, soon to hit the streets.

Having played in every continent on earth and with releases on over 50 different record labels, Sterling is using his vast musical knowledge gained through his travels and productions to harness an energy for Rebeltek that is both unique and compelling, whilst retaining an counter-culture attitude direct from London town that will drive the label forward.

The debut track 'Don't Fuck Around' has been road tested at the massive UK Techno event 'London Underground United' and subsequently received extremely positive attention. This special first release will be available on limited edition gold vinyl and will be sure to be a collector's item for years to come.

REBELS FOR LIFE

Type “Was Joan of Arc” into Google and the suggested endings for this statement give you an accurate gauge of her place in pop culture: “Catholic” / “a nun” / “canonised” / “a prophet” / “French” / “a witch” and so on. Related questions to “What were Joan of Arc’s last words” on the info-sharing site Quora include “Was Joan of Arc bisexual” and “Was Joan of Arc simply crazy?” Everyone seems to agree this person was burned at the stake in 1431, but beyond that, Joan’s narrative is an enigma. It is this lack of definition that the production duo Pillow Queen harnessed for their second release, Burn Me Up. Inverting the image of the devout Christian girl, the Joan who stands as this record’s heroine was a heretic, a transvestite, most definitely a dyke and a hot femme-top at that.

Opening up the A-side, the title track is a call— a battle cry, but also a summoning. In a time of need one calls upon their patrons and elders from history; a DJ beckons and gathers dancers to the floor; prayer and sweat go hand and hand. A traditional Irish bodhrán drum beats out the first rhythms, joined by a steamy vocal sample that gets caught, chopped, and soon “Burns Me Up” is pumping along with organ chords and distorted keys. Pivoting away from the 4/4 format, “Submission” is a textured, downtempo slow-burner, with close-mic’d vocals from Vani-T and the D. Tiffany’s deft drum programming. When the choral pads come in, there’s an echo of the 1990s German worldbeat project Enigma, with its Gregorian chants and flutes laid on top of lounge beats—here, though, the chorus is stripped of kitsch, only driving the track deeper into a mood.

If Burn Me Up’s sequence of tracks is read as a kind of narrative, they seem to tell the story of Joan’s last moments. “Burn Me Up” is, frankly, heat—aggressive, the high-end crackles and the bass puts a pyre under one’s feet. “Submission” is like an exhale, a giving-in to death’s grip; there is, along with the sensuous tread, a melancholy. It only makes sense that one flips the record to “Resurrection”, which rolls in a tremolo’d wail of pitched vocals for 30 seconds before a kick drum begins the 141-BPM march. The percussion is central here, as the track shifts between polyrhythms like a range of resuscitations, varied heartbeats. “Salvation” closes the record, again dialling back the tempo to the deep nod of dub. To no surprise, the scene of redemption here is not one of sunlit cherubs—the church bell sample tolls one strike every few measures of bass-throb and shadow, while Vani-T intones, “Then he lay down and died”. Death can be salvation to some; living as many selves, living in contradiction, is a saving grace to many more.

Fabrizio Maurizi makes his debut on Infuse this October as he delivers his latest EP ‘Jumping’, backed by a remix from Pierre Codarin.

A staple within the Italian house and techno scene for over a decade, Bologna’s Fabrizio Maurizi is a producer and DJ now known across the globe for his seamless blend of the two styles across his productions and DJ sets. One half of the duo Bassa Clan, with material via their self-titled imprint, and a member of the Bolo Represent collective, Maurizi’s recent releases include EPs via labels such Bodyparts, Memoria, Want?, Re.face, whilst playing sets worldwide for renowned institutions such as fabric, Robert Johnson, Womb and Cocoricò. Next up, October signals the arrival of a new name to his catalogue as he heads to FUSE sister imprint Infuse to deliver three fresh productions in the form of his ‘Jumping’ EP – accompanied by bubbling UK talent Pierre Codarin on remix duties.

The slick and paired back title track ‘Jumping’ opens proceedings as Maurizi fuses minimal soundscapes with more jazz-influenced notes and tones, whilst Pierre Codarin’s remix ups the energy levels as he introduces metallic drum licks, spiralling electronics and a snaking bassline to the mix. On the flip, ‘Night and Day’ harnesses a classy blend of dubby chords, slinking hats and echoed vocals, before closing the package via the off-kilter rhythms and loose, glitch-driven drums of hypnotic after-hours cut ‘Caravel’.

As so many great schemes do, it started with a conversation in a pub. After several sporadic releases on Diffrent Music, including his renowned 2013 debut "Tongues", label boss Dexta wanted more music from Fearful. One thing led to another, and suddenly an album was in the works.

The result is "Interference"; a body of work that is reflective not only of the personal idiosyncrasies and aspirations of its London-based producer, but of an artist who has truly been set free of expectations.

Harnessing his own inbuilt need to defy convention, and looking to influences such as classical game soundtracks, experimental mastermind Amon Tobin, and the brooding tones of Akkord and Lorn, Fearful has crafted an album that's unpredictable yet cohesive, and definitive of his aim as an artist.

From the menacing ambient opener "Rocinante", through the glitchy techno of "The Traveler", skewed drum & bass of "Pulse 0" and "Through The Mist", to the roaring drone and pounding metal-inspired drumwork of closer "Gold To Dust", it's an album that demands full attention and repeat listening.

Nowhere is this free-roaming but pull-no-punches attitude summed up better than the title track. Building through eerie, twisted atmospherics - samples of electromagnetic interference, which can be found throughout the album - it clatters into a domineering breakbeat, before collapsing into a guttural, tribalist techno roller.

Where much of dance music draws on repetition, the concept of "Interference" is simple: progression. Whether that be changing motifs within tracks, switching genres within the album, or developing upon Fearful's own artistic strengths, it's an idea never more at home than on Diffrent Music, and we are very proud to present it.

Dynamic Dublin-duo Boots & Kats get given the keys to the House of Disco channelling an Italo Disco rave of interplanetary proportions for HOD028. Three pure peak-time pumping Italo warpers, complete with an exquisite Johannes Albert’s Party Talk remix to round off the package.

Fists in the air business in a far-away planet, one where synthesisers rule the lands using colossal kicks and huge snares to enhance the power of their all-encompassing arps that range from rapid fire bass to gargantuan top lines. Johannes Albert then throws in some party chatter and deft sampling to his reworking of ‘Party Talk’ completing this futuristic capsule of interstellar goodness.

It’s the best of that ‘80s Italo sound given a modern take that harnesses Boots & Kats’ unbridled Irish energy.

Melissa Guion’s second offering for Kranky retains the glassy gauze of her debut, 2016’s Precious Systems, but shaded starker and darker, framed by mechanical rhythms and humid industrial moods. She speaks of Sour Cherry Bell as something of a reckoning with her tools of creation: “I was curious to see how far I could go with them, even if that meant reaching the ends of their capacity to do what I wanted. But I never exhausted them and they never exhausted me.”

Utilizing her trusted combination of instrumentation, Guion tracked the record between her New Orleans home and rehearsal space, capturing chemistries both intimate and expansive. The songs sway between twilit shoegaze, downer ballads, and gothic pop, mapping a delicate palette of electric melancholies, though in retrospect she cites as her primary muse the notion of power: “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” Sour Cherry Bell reverberates beyond the here and now into scenes unseen, worlds unheard.

"Imagine the opposite of a snake shedding its skin: a body slithering among the debris of 21st-century music; a porous, viscid body, its skin an adhesive, lodging onto itself bits and pieces along the way. Some are scraps, rusted, discarded parts. Some are the jewels of crowns, unglued and fallen from grace, now re-attached on this makeshift contraption. Where does a body end? Does it end where these prostheses begin?

Jay Glass Dubs’ Soma (“body” in Greek) is a palimpsest. Look closely and you can find all sorts of DNA microarrays on the body’s skin – Bristol voices, Detroit electro hums, the amen break, the all-encompassing dub haze – but, as with all palimpsests, they are simultaneously one and a multitude. The body lives, its prostheses live.

The body moves."

For anyone who can remember, Arca's &&&&& was a moment. Its 25-minute stretch of coiling, contorted grime and glitch; dub and hip hop dropped with the buzz of an impending co-production credit on Kanye West's Yeezus in 2013. It included cuts of sound and beats that were too weird for that pop project, while becoming a piece of experimental art that what would come to define what is by now broadly known as a `post-club' sound. It's music that is as visceral as it is experimental; made as much for the mind, as it is for the body. Released with no warning seven years ago, &&&&& became a bridge between Alejandra Ghersi's time partying and collaborating with her queer peers, while still living in New York to the next stage of her career releasing on Mute in London. She'd go from making beats for rapper Mykki Blanco and fashion label Hood By Air, posting lurching bass reworkings of pop hits on YouTube, and producing her first fluid mixtapes with DIS Magazine, to finishing off this seminal mixtape on the synths in Daniel Miller's studio. After dropping three impressive EPs the year before, &&&&& marked a transition. Continuations and extrapolations of material from Stretch 1 and Stretch 2 appeared in the mangled RnB sampling of "Century" and Arca's signature vocal layering in the pitched flow of "Waste". Along with the fluttering, muted heartbeat of "Obelisk", and the lumbering piano chords of "Mother", fourteen sonic sketches were elegantly woven together into a single, downloadable whole. As Alejandra's course turned toward moving to Europe from the United States, &&&&& became a remarkable challenge to the form of the mixtape, which was a relatively new trend taking hold of the online-oriented underground at the turn of the 2010s. But where many, if not most mixtapes where treated simply as a showcase of individual tracks presaging a more `official' release to come, &&&&& was a complete piece in its own right. "I wanted to make something that was my best work," Alejandra says about a record that has stood the test of time, "I listen to it very fondly today." This reissue of Arca's 2013 debut mixtape &&&&& features an etching on side B of the vinyl.

Nihiloxica is a project that harnesses the full force of the ancient Bugandan drumming tradition of Uganda and focuses it on the contemporary dance floor through a dark lens of techno sensibility.
Formed by UK musicians Spooky-J & pq and members of the Nilotika Cultura Ensemble and incubated in Kampala by acclaimed label Nyege Nyege Tapes the cross-continental band explore the common ground between techno an tradition, a conversation between two cultures with a common aim: to mak people dance. Already tearing apart dance floors and festivals across the worl with an at once transcendental and earth-shattering live show, Nihiloxica ar
only just getting started.

Deluxe 2 x 140g LP edition, gatefold sleeve, colour innersleeves, includes download card.

Fronted by creative lynchpin Billy Sullivan, this startling three-piece – augmented by three other musicians when playing live - have cemented a loyal fanbase since their inception some five years ago and alongside Sam Long, bassist and drummer Matt Johnson whilst initiating album sales in excess of 20k and a tour itinerary approaching nearly three hundred gigs.
Life Worth Living is a contrasting melting pot of unadulterated joy and melancholy, laughter, tears, frustration and peacefulness. Quiet and introspective moments collide with loud and angry times and no less powerful. At its heart is a sense of hope that things can be better, the title reflects that aspiration. Produced by Simon Dine, who was behind the desk for Paul Weller’s 22 Dreams and Wake Up The Nation amongst a varied CV - has harnessed the undoubted vibrancy and swagger of the band’s live show helping create an ambitious album – a vehicle for the talents of Sullivan, Long and Johnson.
From the infectious brass-infused opener, Start All Over Again, the Nutty Boys-esque title track Life Worth Living to Tear This Place Right Down bathed in soul overtones, the ballad-like wonder of How Could I Lie To You? to the ska riffage of single (Just Won’t) Keep You Down and the magnificent finale of Make It Through Each Day.

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

LTD. GREEN VINYL

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

Planetary Notions boss Joe Rolét debuts on Infuse to open April with his ‘Maximum Width’ EP, backed by a remix from Rich NxT.

A rising name within his home city of London, Joe Rolét is a DJ and producer whose passion for subbed out club music with a cosmic twist has seen him become one of the scenes hotly tipped talents – a sound that’s also reflected in full via his bubbling label, Planetary Notions. Releasing music from artists such as Per Hammar, Lopaski, stevn.aint.leavn and Desert Sound Colony whilst welcoming the likes of Vlad Caia and more to join as guests on the imprint’s Rinse FM show, 2020 now sees Rolét follow up releases via Beeyou, Courtesy Of Balance and his own Planetary Notions imprint as he makes a debut label appearance on Infuse with ‘Maximum Width’ EP this April, accompanied by a remix of the title cut provided from FUSE resident Rich NxT.

Lead cut ‘Maximum Width’ sees Rolét introduce his blend of slinking, reduced grooves atop of bumping low-ends whilst working an infectious vocal throughout, whilst ‘Rounding’ sees warped synths, off-kilter melodies and further tripped out vocal snippets come to the fore. On the flip, FUSE favourite Rich NxT puts his stamp on the title track in impressive fashion as he raises the tempo and introduces sizzling bass stabs and rolling hats, before rounding out proceedings with the hypnotic ‘Amber Road’ – a paired back cut that harnesses soaring sci-fi leads and wriggling percussion arrangements to great effect to shape up an impressive debut offering.

Throughout the ‘REFRACTIONS’ EP, Close Counters further signify their skills in blending house, soul, funk and broken beat and to create their own blend of insatiable and infectious grooves through a polished comb-i nation of electronic and organic instrumentation. The duo harness the spirit and energy of the Melbourne soul scene and raise it to new levels in the four polished, dance-floor-ready tunes in REFRACTIONS.

‘The songs were written over the last couple of years following our move from Hobart to Melbourne and was made possible with the help of a number of collaborators, including our live band members Elle Shimada, Lucky Pereira, Paul Bender (Hiatus Kaiyote) on bass, and featuring vocalists Laneous and Wallace.’ – Close Counters

Since the get-go Pond Life Records has strived to combine jazz and funk infused instrumentation and electronic programming. Humble B Flat, who has helped define Pond Life's sound has played true to this concept since his first release on PL001. Two years later, we are blessed with an four track EP that’s builds upon this blueprint - ‘Harnessed The Wind’

Adelphi Music Factory return with a mahoosive, peak time, fist pumping piano house bomb that harnesses that signature spiritual feeling that they do oh so well. Rapturous, unadulterated ecstasy bottled up and ready to be unleashed at will.

Born out of a desire to share a selection of personal DJ focused, dancefloor edits, that have been exclusively test run and hammered by DJ Harvey and Lovebirds for the past few months, SIRS kicks off this new label offshoot with four, slick, sweltering and powerful reworks that ooze class.

Secret weapons of the highest order, each edit reimagines it’s original from the mind of the DJ – anticipating the moves of the club and harnessing the power that deft touches, reshaped structures and expressive effects can make to the force and energy of a record.

As appropriate soundtracking the crescendo of a club night, as they would be scoring the backdrop to a hazy sunset these edits are a must have in any DJs record bag.

Coming into orbit late November PS001.2 continues the dancefloor focussed explorations of one of Australia’s most loved new labels, Pure Space. Just in time for the Aussie summer the release highlights the sound of the new generation of electro and broken-beat producers emerging from the countries east coast.

On the A-side Point Guard returns to the label with his razor-sharp electro outing ‘Odyssey’. An emotional expedition that harnesses dancefloor euphoria with a powerfully burning bassline. Joining forces to complete the A side is Melbourne producer Disrute and label head Andy Garvey. Here an ever-evolving synthline propels you forward throughout the track that builds infinitely but pauses just to release Garvey’s mesmerising vocal, ‘NRG’.

Flip the axis and you will find swirling synths and scattered percussion that creates the murky club weapon that is emerging Sydney producer PMA’s ‘Hek’. Completing the release, Roy Mills brings you to a full rotation with ‘Aquatic Pressure’. His jittery breakbeat cut that slows to a half step mid way and returns with odd-ball synth mayhem.

Clear Vinyl.

Raime explore exquisitely honed rhythmic instincts with scintillating results on the 2nd release on their RR label.

Where the London duo’s 2018 EP and RR debut ‘We Can’t Be That Far From The Beginning’ evoked a meditative mood from the info overload of their home city that left acres of space to the
imagination, the ‘Planted’ EP rejoins the dance with four tracks that icily acknowledge strong influence from Latin American and Chicago footwork styles in a classically skooled mutation of hardcore British dance music.

In four fleetingly ambiguous dancefloor workouts they carry on a conceptual theme exploring the digital subconscious with persistently invasive, alien ambient shrapnel - half-heard voices, aleatoric prangs, and tag-covered signposts - woven into and thru their tightly coiled and reflexive drum programming.

UPTOWN, ’Num’ flexes tendons and hips like a Leonce riddim that danced all the way from NOLA and ATL to the wintery dawn of a LDN warehouse, while the lip-biting tension of minimalist 160bpm jungle/ footwork patterns and jibber-jawed vocals in ‘Ripli’ suggests the Alien film’s protagonist lost in a mazy rave space, chased by H.R. Giger-designed face huggers (or gurning energy vampires).
DOWNTOWN, ‘Kella’ then catches them on a grimy dubtech bounce, cocked back and straining at the harness, before ‘Belly’ shuts down the dance with invasive, demonic motifs exploding over dark blue chords and palpitating jungle subs with impeccable darkside style.

A six-track release, ‘Fun Is Fun’ opens with the infectious, synth-driven title track, with a dub version and ‘Mamacita version’ also making it onto the record. Next up, ‘Dancefloor Anarchy’ is a similarly slick cut, while ‘Kill Your Friends’ is 140bpm and harnesses a killer bassline and unnerving scream sample to devastating effect.

“The title track ‘Fun Is Fun’ is a heavy bassline track, meant as a provocative poem, or as a joke you tell your friends who DJ,” Kessler explains. “When I did this track I was smiling because it’s my message not to take yourself too serious in this business. I think that's a big problem all over this scene.”

Following energetic releases on underground labels such Coméme, Get Physical and Numbers, the Cologne-born DJ, producer and poet’s distinctive sound has helped him grow into one of Germany’s most celebrated electronic artists. He has previously collaborated with the likes of DJs Pareja and Christian S while his music regularly receives club plays from Dixon and other A-league selectors.

TRICK was initially launched as a platform to exhibit Topping’s versatility as a producer, as well as a platform to showcase the wealth of emerging talent which he has been pushing in his DJ sets. Kessler, who played the TRICK launch party at Gateshead’s 4,500 capacity Mainyard venue, will also return to the tour with a set at the series’ upcoming Warehouse Project in Manchester on 8th November.

“I first heard ‘Fun Is Fun’ when Jackmaster was playing it in 2016 and it's become one of the most ID'd tracks online since!” Topping adds. “This was also the first time I’d heard of Bryan Kessler. Since then I've been hammering so much of his music and I'm absolutely buzzing to sign ‘Fun Is Fun’ a few years later as I think it could be an underground anthem. The other three tracks also show how much of a unique talent Bryan is!”

A collection of club-ready heaters, ‘Fun Is Fun’ sees Bryan Kessler craft six cuts with the dancefloor in mind.