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Two decades in, one of dance music’s most celebrated DJs, producers, label owners, A&Rs, broadcasters, and tastemakers has big plans for this anniversary. In June, Anja Schneider will unveil an expansive rework and remix package on her benchmark-setting imprint, Sous Music, some of her best-loved tracks are there in less familiar forms. Expect fresh takes from Anja herself on seven of her favorite tracks plus a wealth of heavyweight remixers: Paramida & E-Talking, Radio Slave, Scuba, JakoJako, Julian Muller, Cassy, Deetron, Leafar Legov, Erobique, Jaymie Silk and Ackermann all being part of the impressive collection.
“The project includes new versions of my favourite tracks from the last 20 years and remixers who have accompanied, influenced, and currently impress me. Each artist holds a special connection for me,” says Anja in anticipation of this milestone release.

“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

Panavision was born from the shared passion for music of Akaj, Pierro, and Brassac. After years of playing as DJs, they came together in 2023 to create a space that goes beyond dance music — a platform where producers and artists can explore creativity, freedom, and in novation.

Rooted in a diverse range of genres, we are committed to discovering and nurturing talent, both from the past and present. Our mission with this label is to bring stories to life through music that is authentic and dedicated. For our first releas e, we are thrilled to present a mini - album from S evered Heads titledOp5.

This record marks the official launch of our label, which operates between Brussels and Ljubljana — two cities that embody our ambition to explore diverse creative landscapes and push the boundaries of contemporary music. This first release is a t ribute to one of the pioneering forces in electronic music. The OP Series is one of many innovative projects S evered Heads h as produced since the late1970s.

For this special release, we’ve carefu lly selected six original tracks out of fifty from the Op Series releases of the early 2000s and curated them into a thoughtful sequence to form this mini - album

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

True Sneaker Social die-hard Etch returns with a monumental new album. Scream of the Butterfly shows the depth and breadth of one of the illest producers operating across the many spheres of club music with a distinct “you ‘kay?” slant.

From the moment the low-end pressure and loaded samples rear their heads on the opening track, Zak Brashill demonstrates his intent to sculpt Scream Of The Butterfly as a proper album — an end-to-end listening experience full of peaks and troughs which focus on sonic storytelling much more than club functionality. Throughout his imperious output to date, the man like Etch has displayed an affinity for sound design to match his instinct for what bangs on the spectrum of dubstep, garage, jungle and hip-hop, but now he’s gone postal on soundworld-building, with a grip of heavyweights drafted in to help set the scene.

Fellow Sneaker alumnus J-Shadow lends his maverick footwork science to ‘Star Fallen’, while UK rap anti-royalty Lee Scott brings his unmistakable Runcorn drawl to dusky head-nodder ‘Not Surprised’. UK bass-synth-ambient enigma E.M.M.A drops in for the moody, meandering midpoint ‘Stepford Lives’, and Killa P and Emz deliver blazing bars to the double dose of ‘Prayer Wheel (Left You Fi Dead)’ and ‘Heat Map’ respectively.

Elsewhere Brashill follows his own razor-sharp instincts into warping stop-start drum science, widescreen downtempo with teeth, seasick synth studies, moody-but-cosy 140 and lots more besides. Nothing comes as standard, but Scream of the Butterfly is ruff when it wants to be, subtle and spacious if the vibe demands it, and consistently packed full of the detail and intrigue that we’ve come to expect from one of the most inventive and reliably sick producers in the contemporary bassweight firmament.

2025 Repress
Sublunar is proud to present the next release from its label head Sciahri and Hertz Collision.
Following the success of their collaboration on Clergy, the two Italian artists return with Axis Mundi, a sophisticated techno EP rich in texture and nuance. The journey begins with the title track Axis Mundi, an electrifying opener with razor-sharp sounds anddriving rhythms, setting the pace for the EP. Next comes Drifting, where hypnotic grooves and floating synth lines take the listener on a captivating sonic voyage.
On the B-side, Entropia shifts gears with a mind-bending synth that propels the track into another dimension, while Silent Pulse closes the vinyl edition with its minimalist yet refined touch, perfect for any moment of the night.

Philadelphia producer DJ Matpat delivers his third release of the year with a 12” on NYC's Off Track Recordings. Dropping November 21th “Lucky Strike” is a 4 track raw house EP that delivers a timeless feel full of club-ready grooves that are made to keep energy high on the dance floor. From Deeper Love’s belting vocals to ‘Lucky Strike’s’ chunky drums, ‘Falsettos’ minimalist approach this EP hits a few different sounds for any house music head.

An appetite for the unknown" - Daniel Lanois

No collaboration is unlikely when the end goals are the same. A meeting of two artists who illustrate different corners of the musical landscape, come together to create a new statement that takes their collective strengths to higher elevations and encompasses new terrains.

So it is on the first collaborative journey of Canadian musicians Venetian Snares and Daniel Lanois. What started as mutual respect for one another's work, led to several years of a creative germination resulting in an eight-track full-length exploration released May 4th on Timesig/Planet Mu.

The path began in 2014, after Lanois reached out to Venetian Snares (Aaron Funk) as a fan of his work. The project started to take root in Summer of 2016, after Funk hung around Toronto between shows. Taking his gear to Lanois' studio, the two began to play for the first time together in what would prove to be a formative moment in their creative journey together.

I love making music with Dan, he has a real understanding of how to create a world and build what may exist within that world. Bassdrums are trombones and they are a colossal whale which floats on clouds of leaves speaking to the blast furnace feeding the mammoth. A small painting of forest horses hangs in the cranium of the sea horse.' - Aaron Funk

Recorded live in a former Buddhist temple-turned-studio in Toronto,
'Venetian Snares x Daniel Lanois' travels to new zones in what Lanois describes as a body of work driven by exploration'. Like all the best collaborations, it's brought something new out of both musicians. Equipped with their production acuity, they let their natural workflow guide them through uncharted waters. Funk laid the groundwork with drums while Lanois rode the pedal steel, weaving their sounds together in a new sonic tapestry. The two ultimately landed at their destination, their work ready to be shared with those willing to explore.

In Daniel Lanois 'own words:
"To come upon a new form reassures the head that frontier lives on The unlikely pairing of Venetian Snares and Daniel Lanois may very well have provided us with a nice new pair of shoes to walk to new sonic frontier A melange of gospel and electronics As madness of the world trips over its heels these Canadian sonic innovators prepare for travel A body of work driven by exploration, brings to us in our modern times what we remember and admire from the Jazz explorations of the 50s A splintering An appetite for the unknown"

If you are looking for a witty all-around club record – it’s arrived.
Tripmastaz shows class on #09 of his self-titled label. Four cuts built to smack dancefloor fiends to their knees.

Big boy peak-time business on ‘Madd Rippz’ has been road-tested this year by the man himself, crossing various capacity clubs and festivals. An au fait organ riff keeps you in the loop, with slappy Tripmastaz-brand beats delivering as expected.
‘Seqund Lite II’ gives you a more minimal yet funky approach. No more to add—just nod your head twice.

‘4eeba’ is a jacky early 2k number that was originally recorded more than 10 years ago but mixed to crunchy perfection.

And finally, ‘Rule 4080’ is a bumpy house track that sends off some sense to the ones who know what the title means.

The artwork side is covered with the handwriting of one of New York’s finest tattoo artists, Nobu Umezu.

Special loud cut by Mike Grinser @ Manmade and the dynamic force of Tripmastering wrap up this baby neatly.

Mona Lee aka Lissa Callens and WPH label man Red D go a long way back. Red D always knew it was a matter of time before Mona Lee would come up with some music he could not refuse. A gig together and the first notes of ‘The Reason’ and that was that.

Classic house that would make Kerri Chandler proud is the order of the title track. A bright piano melody, a good vocal hook and rough and ready beats in a crisp production that will shake up any dancefloor. Red D himself delivers a dub that focuses on the hooks and makes them shine even more on top of a killer funky bass line. For good U.S. house measure Atlanta’s finest Stefan Ringer steps up to deliver his trademark dusty twist on things. As a bonus you get ‘Spaces & Places’, a delicate organic deep house beauty with Mona Lee scatting ever so subtly to make you go out of your home and out of your head.

It’s house, it’s good and it will make you dance and sing.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.

Artist, producer, DJ and cultural trailblazer Peggy Gou returns with her latest single “Find The Way” on Gudu Records.

The first new track since the release of her debut album I Hear You, this latest single builds on her recent sonic terrain. Making a midsummer bid for song of the season, on “Find The Way” Gou addictively blends her featherlight breezy vocals with a balmy, technicolour 90s house beat lush with mellow keys, acid tinged synths and hypnotic basslines.

2024 has been a huge year for Gou already with the release of her hotly-anticipated debut album I Hear You on XL Recordings in June. Alongside glowing reviews from The Observer, NME, The Line of Best Fit and more, she’s also graced the covers of Billboard (US), Vogue Germany and L’Officiel Italia. A huge year for her in the live arena too, having played to over a million people in 2023, 2024 has seen a string of high-profile appearances at the likes of the Coachella, Ultra, EDC and Primavera festivals alongside a headline slot on Glastonbury’s Park Stage.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

Coming Back Strong marks the milestone 75th vinyl release on Whiskey Disco and the first solo EP from label head Sleazy McQueen since 2020. The A-side seamlessly blends deep house and disco, featuring the rhythmic mastery and evolving builds of Terry Grant, a long-standing Bedrock contributor who has recently been showcasing his skills alongside Luke Solomon’s various projects. On the B-side, High On A Mountain delivers an energetic and percussive disco workout, with subtle tribal undertones. Closing out the EP, Coming Strong is a groovy, disco-infused house track that wraps up this release on a high note.

London-based DJ and producer Steven Julien’s career has always been about contrasts. Across a decade of releases on labels including Eglo and his own Apron Records, as well as club sets around the world, he’s consistently mixed light and dark, soft and heavy, yin and yang. From rough-edged house and techno to laid-back soul and boogie, or meditations on his familial and musical heritage with 2018’s Bloodline LP Julien’s music has always moved between moods, styles and emotions.

That eclecticism also defines Julien’s upcoming instalment in !K7’s iconic DJ-Kicks mix series. Featuring a broad spectrum of artists including Ryuichi Sakamoto, DāM-FunK and Todd Edwards, alongside a selection of his own exclusive productions, Julien takes us on an imagined journey from day to night: from a bucolic afternoon in nature to heady domestic vibes before a big night out, and finally the euphoric embrace of the dancefloor itself.

Julien describes his creative approach to DJing in general, and this mix in particular, as letting his energy and intuition guide him - it’s only on listening back to the finished session that he realised how often he mixes tracks in key, creating smooth transitions from one moment to the next.

That instinctive approach, where seamless mixing becomes second nature, speaks to Julien’s decade of appearances in DJ booths around the world: he cites sets at Ormside Projects in London, Doka and De School in Amsterdam, or Mitsuki in Tokyo as specific inspirations for this mix. Julien describes the feeling he’s tried to capture on tape as an out-of-body energy: just letting loose, and being yourself. “When you get in that position of doing what’s true to you, playing what’s true to you” he says, “people just resonate with that.”

Comprised of Clams Baker Jr., Benjamin Romans Hopcraft, Adam J. Harmer, Marley Mackey, Quinn Whalley, and Bleu Ottis Wright, Too Cold To Hold is undoubtedly their best and most ambitious album to date. Taking on board the repetitive and polyrhythmic grooves of gqom (an alluring South African take on house music), adding in a dash of hip hop flavours and even jazz, and then harnessing that to their punk-funk, disco pogo, it’s a spellbinding mix. The album is produced by the band’s Ben Romans Hopcraft alongside Jamie Neville.

Talking about the first track to be taken from the album, ‘Fashion Week’, which is a joyous account of fashion’s die-hard fans rather than the more visible arrivistes or dilettantes, Clams said: “Those that will do anything to become that thing. That creation. And live it. It’s real artistry when you don’t have the means and you’re doing it. You’re hustling to get on the guest list, you get in, you’re done up by means that you can’t really afford, whatever you do… It’s a celebration of people who will do whatever to look good and feel good and step above wherever they are in their own minds.”

With a reputation as one of the most exciting and mesmerising live bands out there right now, they have also today announced both details of a very special ‘Fashion Week’ launch show at London’s Lexington on 10th July and a run of U.K. / EU dates to coincide with the album release in November – the dates include their biggest London headline show to date at The Troxy. The full list of dates, which is as follows:

Limited 2024 Black Vinyl Repress

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album. Produced by Acid Mothers Temple/Mainliner guru Makoto Kawabata who also guests on the album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls throughout the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the band's first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’. Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the band's musical pathway, and he’s achieved stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

LP + insert with extended liner notes and download code including extra bonus track 'Movements of The Mind'.For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.



From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately 'Nebulizer' will be a soul-searching journey, soaking you deep into an unknown and very personal musical world.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

In 2022 BRAHJA released the critically acclaimed album 'Watermelancholia' on the Belgian leftfield imprint Cortizona. For his second album on the same Cortizona label, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.

Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity.

A devotional séance channelling unknown powers proving music is a healing force of the universe.

Rejoicing the Holy Jazz Spirit.

Ready to nebulize the world and bring light out from the darkness. Head cleaning the world in 4 musical parts: Geological Drum, Nebulizer, Bushido and Movements of The Mind. Nebulizer is an elevating meditation on our estrangement of nature.

Interstellar sonic stardust from a mindblowing collective that will leave you flabbergasted.

Be prepared and hear it to believe it.

For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra and other good music.

2024 Repress!

“You Are Safe” – a title illustrating the safe haven, Keinemusik has built itself over the last years. This self determined action space of the DJ/producers Rampa, &ME and Adam Port; Reznik who’s favouring the DJ booth to the studio and painter/visual artist Monja Gentschow. At the same time it makes an offer to every listener: put your headphones on, boogie around your living room, let go, forget everything around you. When this is on – you are safe.

Repress!

There was huge demand on the first issue - now released in a standard edition. Limited. Be Quick!

Hot double LP of beats and scattered rhymes (JPEGMAFIA, Retro X & Jeshi feature) from this highly inventive producer. Having gained notoriety for his work with Frank Ocean and Travis Scott among others, Only Diamonds Cut Diamonds is overjoyed, heady and nervous at once. It offers a proper introduction to the massively imaginative sound of Vegyn.

Building up a head of steam, Ace Vision returns on the heels of his Raising Awareness EP.

For Shaped Mind, the Italian artist is exploring new musical avenues. While his musical essence, glow and style remain, a darker dancefloor palette is employed on the release. Polyrhythmic patterns race in the sample strewn “Second Phase”, rumbling waves and warehouse echoes tempered by swirling stabs. A bouncy liquid groove ushers in “Nu să Chan”, rasping beats shrouded in smoky bass while bars bend around an assortment of textures and tones. “Katana Cut (Trance Mix)” conjures up images of dancing bodies waiting for the dawn. Melodies circle percussive layers, meandering undercurrents of acid bubbling beneath shimmering synthlines. The finale comes with “Mixage Électronique.” Steady kicks and crisp cymbals give way to juddering chords, clean keys and snare rolls countering to a close.

12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.

Over 1.5m albums sold in the UK and 3 consecutive no 1 albums for Noel Gallagher’s High
Flying Birds – plus a record breaking 10 consecutive chart-topping studio albums in the UK
for Noel.
- Debut eponymous album released 17th Oct 2011, debuted at no 1 with 122.5k sales and
achieved double Platinum status less than 6 months post release
- International Magic DVD release of the 02 Arena gig Feb 2012 certified Gold on shipment
-2011-2012 live schedule saw NG HFB visit 32 countries across 6 continents, playing 150
shows over a 15 month period. 406k headline tickets and 1.2m festival tickets sold
- Chasing Yesterday, released 2nd March 2015, no 1 album on release with 89.1k sales and
certified Platinum
- 2015-2016 18 month world tour covering 122 shows in 28 countries. Almost 400k headline
tickets and 1.25m festival tickets
- Who Built The Moon?’ released on 24th Nov 2017 - no 1 with 77,853 sales (almost 35k sales
ahead of no 2), Silver album after only 4 days and certified Gold 2 weeks post release
- Tour covering 59 shows in 17 countries with 245k headline tickets and 550k festival tickets
- Noel Gallagher’s High Flying Birds released a series of 3 multi-genre EP’s over the course
of 2019 and 2020
- 2019 saw a host of headline festival dates covering 150k tickets sold across the summer
plus tours of the USA and Australia with Smashing Pumpkins and U2 respectively

Glenn Astro leans into the twilight months of 2024 with a new album from his Delta Rain Dance project. Divining fourth world sensibilities from his restlessly curious studio workflow, Astro weaves a mesmerising tapestry of sound on Music For Autumn which treads the line between horizontal meditation and head- nodding, backroom-ready groove.

Amongst his constellation of myriad aliases, Delta Rain Dance spells out the inspiration Astro takes from fourth world pioneer Jon Hassell. The project first surfaced with a string of tapes, LPs and digital releases around 2018, all carried on a label of the same name to keep Delta Rain Dance enclosed in its own space
independent of Astro's many other musical endeavours.

"I’m really into the world building aspect in science fiction and fantasy," says Astro. "This is my way of creating worlds and spaces that co-exist next to each other. Sometimes they collide but mostly they exist peacefully next to each other or pursue some form of cultural exchange by collaborating with each other."

There's a strong sense of balance and cohesion throughout Music For Autumn, as organic percussion and instrumentation wraps around delicate synthesis and patient drum machine pulses so naturally it's hard to spot the joins. The sound has plenty of room to stretch out, from the mantra-like chimes and rattles of the album opener 'Green Light Fade' to the luxury funk of 'Mmmh, Nice' (featuring fellow Tartelet alumni Nelson of the East). At times the electronic elements seem to entirely dissolve, not least behind the loping strings and tumbledown percussion of 'Second Sleep', while achingly beautiful closer 'Plucked' centres on the fluttering movement and expression Astro elicits from his modular setup.

True to the project's influences, a consistent ambiguous mood lingers in the air over Music For Autumn somewhere between far- flung mystery and comforting familiarity, reliably calm but equally contemplative. It's an odyssey of serenity with enough nuance to make you really think, perfect for the days getting shorter, leaves crunching underfoot and the last fading rays of warmth from the sun.

2024 Repress

Wilson Tanner’s 69 returns to Australian soil for a new season. A uniquely provincial take on ambient music, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) assembled their prized debut over a shared love of seafood, wine and LPG. Recorded in a Perth backyard, these two new friends reached for the tools at hand and made the best of the fine weather. Instrument and implement combine in a languorous bricolage of synthesizer, clarinet and building materials - interrupted only by the occasional flutter of pigeon wings or a call to lunch. Back in print for the first time since 2017, Wilson Tanner hop into Efficient Space’s expanding pot.

More brutal sounds from the thriving UK scum/noise rock underground.

LOUSE: purveyors of the finest cellar-dweller scum rock since 2020; a disgusting cocktail comprised of 4 parts Foot Hair (Box Records) and 2 parts The Shits (Rocket Recordings), served over a capsized cruise-liner.

Described as wielding “damp and sticky instruments”, being “rotten from the inside” and sonically “stinking drunk, shirtless with no shoes, crawling around in your head”, LOUSE gleefully pummel one riff into oblivion, deranged howls & punishing buzzsaw guitars growl over driving disco beats and slide bass. A carnival in an open sewer.

Creep Call – LOUSE’s debut LP, after various tapes, live recordings and a split 10” lathe cut with The Shits – is a true statement of intent. Presented by the magnificent Riot Season, the record is the result of a (wasted) life’s work honing and toning the platonic ideal of single-riff noise rock, all wrapped up in a grindhouse, Giallo-flick package.

Briefly elevated from the basement, Creep Call was recorded with James Atkinson at The Station House Studio in 2023 and mastered by S. Bishop, so the carnage has never sounded better. Perfectly balanced ugliness drenched in feedback, pumped up with Stooges keys and sax (honk honk) - the closest thing to experiencing the deafening, goofy, beer-soaked-undergarment chaos of a LOUSE show first hand.

Creep Call features wholesome ruminations on perpetual home invasion, road-side pornography addiction, perfecting a cannibalistic diet, and an unmistakable cowboy/line-dancing anthem. Do the wrong thing, and answer the call.

Emerging producer Très Mortimer dishes out eight huge heaters on the highly-anticipated ‘M1 City’ release, a dedication to the mighty Korg M1, coming to Seth Troxler’s Slacker 85 on 25th October.

Kicking off ‘M1 City’ is the simplistic, but refined and booth-rattling ‘Work That Body’. A crisp M1 stab is the main character in this, amplified by thunderous and high energy drums.

Then there’s ‘Secrets’, a house jam inspired by the likes of MK that utilises TR-909 drums, a subtle rolling bassline, intimately whispered and soulfully sung vocal shots, and, of course, classic Korg M1 synth stabs. Together with dramatic contemporary builds, a highly danceable house smasher is formed.

‘No More’ is pure gasoline for the dancefloor. Très pairs another barrage of clean M1 stabs with a rousing vocal sample that leads into, with the help of a rolling snare, another highly effective house drop. Following the extremely saucy ‘Big Daddy’ skit, we’re dropped straight into ‘One Of Those Nights’, a show-stopping track complete with cutting, sharp stabs, a bulging bassy synth and a West Coast-esque synth sound.

‘Bitch I’m From Chicago’ feat. Gleebz is, as the title suggests, a dedication to the city where house music found its name. Batting off all the poser cities like LA and Miami in the sassy lyrics, it embodies the spirit of Chicago with hefty kick drums and weighty chord stabs.

At the tail end of the release, ‘Let Me Go’ and ‘Love’ (featuring vocalist 7000 (7K)), bring things to a rousing emotive close. Both tracks see Très put clean vocals over piano riffs, giving off differing moods – the former is euphoric, the latter melancholic. Synths bubble beneath, and each track funnels their own respective house grooves, resulting in two tracks fit for both the dancefloor and headphones.

Très Mortiner explains: “The M1 sound is classic. It automatically transports you back to those timeless house songs that never get old. For me, house music is all about connection. People experiencing a little moment of euphoria together when they hear a riff that they all know on the dance floor. That’s what it’s all about. With this project I wanted to tap into that 90s rave sound and spirit. I wanted it to sound like the OG Chicago rave scene.”

“M1 City is my first project to be released on vinyl. I think vinyl is very much alive. It’s essentially for music connoisseurs now. I don’t expect people to have a vinyl collection when all music is always available to everyone on their phones. Nevertheless, I love the idea of some random DJ finding this record in a shop in 10 years. Who knows what I’ll be producing then?”

Très Mortimer is a key figure in Chicago's house scene, steadily building a strong following with his no-nonsense, dancefloor-driven sound. Drawing inspiration from his Polish roots, Trés has signed with major labels like Mad Decent, Insomniac’s IN/Rotation, and Ministry of Sound, while also launching his own imprint, Optics Records. He made his mark with a clever rework of Zombies' 1968 hit ‘Time Of The Season’ (1M+ streams). Standout releases include his downtempo collaboration with plumpy, "BAMBU," and his latest single, "At Night I Think Of You," which was recently given a remix makeover by Seth Troxler and Nick Morgan.

Slacker 85, launched in 2023, is the record label behind ‘M1 City’. Founded by Seth Troxler, it aims to give a platform to "oddball, esoteric and diverse sounds," positioning itself as a counter to the polished, refined dance artists dominating the scene. Troxler, upon the label’s launch, declared that he wanted to create something for "the anti-hero, the kids who could have done it but didn’t care to try”—essentially, "the slacker." So far, it’s delivered a range of releases from artists like Jackmaster, Danny Daze, Dan McKie, and Andre Salmon, offering tracks rooted in house music's past but evolving within its present boundaries.

‘M1 City’, this ode to a piece of gear that consistently finds itself at the heart of house music history, highlights Très Mortimer’s respect for and knowledge of the scene and its key gear. Trè combines this admiration and inspiration of house music’s greats with a modern sensibility, resulting in eight tracks worthy of today’s dancefloors and today’s ravers.

There is the new release by acid jazz superstar rad. available, for which I’m happy to provide, attached the tools. The recordings feature no less than Tower Of Power Horns, David Garibaldi, Roger Troutman, Ray Obiedo, Bobby Vega and Michael Spiro…

vIt was the San Francisco Bay Area where Herbie Hancock founded his Headhunters. It was the San Francisco Bay Area where Prince recruited Sheila E., Rosie Gaines and Larry Graham.

Bands and artists such as Tower Of Power, Sly & The Family Stone, Meshell Ndegeocello and Santana came from the San Francisco Bay Area, and Rose Ann Dimalanta, or rad.for short,

also originated from the San Francisco Bay Area. A Heavy Dose Of Oakland Funk – rad. did what she promised. Her 2nd album “gotta be" (1994) had all the ingredients that made the funk heartbeat

faster and the legs fidget: razor-sharp breaks, excellent hooklines, staccato clavinet and organ licks, driving bass lines, forward oriented drum grooves and a voice tofall in love with.

For these remastered two songs, she back then recruited her colleagues from the Syncopated Funk Champions League. Guitarist Ray Obiedo played in Herbie Hancock's band and

with George Duke during the "Thrust" era. The percussionistMichael Spiro worked for Ella Fitzgerald, Bobby McFerrin and Carlos Santana, Bobby Vega played the base for BoDiddley, Booker T,

Santana, Tower of Power, Etta James, Sly Stone and Jefferson Starship to name a few. Beside thefuzz guitar solo of mega funk star Roger Troutman on Come My Way, it is David Garibaldi and the

Tower of Power Horns who add the undeniable quality of this two funk classics now pressed on 7“ vinyl for the first time ever…

Hot on the heels of the recent Maceo Plex and Shall Ocin & FiberRoot EP's comes another stonking release from Ellum. Odd Parents (Brian & Christine) grace the label for the second time with a double-header, heavy hitter complete with Maceo Plex Remix.

Originally from the US now resident in Barcelona Odd Parents have come up trumps with this killer single. The A Side, 'Teach The Wind' is a driving, hypnotically infused, analogue devastator of a track that's being championed heavily by Maceo Plex. The flip features the Maceo Plex Remix of 'Learning To Fly', a slice of transcendental effervescence that successfully manages to brush the stratosphere. Yet again, another great release from Ellum whose releases seem to be getting stronger and stronger.

Liquid Memory presents their third release, "Pick up the Slack," featuring the deep and dynamic sounds of Terraflow, the night-time alias of renowned Jazz/House producer AJ Edward. With this project, Terraflow delves into the realms of progressive house, crafting a sonic experience that is darker, faster, and undeniably captivating. This release is a key moment for Liquid Memory, as it marks their first single-artist release. The EP also includes a remix by co label head Ori Raz, providing a different take on Terraflow's “Pick up the Slack”.

If ever a producer could be hailed as the true heir to New York's storied house music throne, it's undoubtedly Mike Terra—and his new, seriously weighty Rhythm of Love EP on Nat Wendell's Depths imprint is a testament to that in strides.


The EP begins with the peak-time infectiousness of A1 "7th & C," setting the commanding tone for what's to come. The fittingly Big Apple-titled A2 "27th Street (Dub Mix)" follows, a rollicking shuffler whose fat kicks, stabbing synths, and snapping cymbals recall Johnick's steamier cuts. New York in the 90’s is indeed the frame of reference for this EP, and the B-side finds Terra doing what he does best: creating bumping, stomping, and uplifting must-have workouts for the floor. Whether you prefer the swarthy slapping, Todd Terry-esque groove of title track B1 "Rhythm of Love" or the conga-driven, deep-padded chunk of late-night house that is
B2 "City Got You Trippin'," a late-night jam crafted for those still standing, both tracks are bound to find their places in the record bags of DJs—and heads—worldwide.

Tim Bourne gets the sub-label rolling with a hard-hitting four-track release!

The Bali-based producer leaps head-first into concocting the sounds he knows and loves best, resulting in an ornate collection that gleams on the dancers as they blossom through the late hours.

Creep Woland returns to Headset for 007, for the long awaited Jungle EP.

The third release from Creepy Wo on Headset - pressing unsung Scottish artists to wax

Mastered & cut by Optimum.

Pressed by Trapeze.

180g heavyweight vinyl.