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Originally released in 2021. This record will be re-released.. on Industry Standard. Well deserved re press of an iconic original from Todd Modes. Boss man Oliver Dollar steps up to create a hypnotic remix that will definitely take you to that other place in your head. A truly masterpiece is on the way on 7th June 2024.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Two versions available - limited hand numbered (100 copies) of red vinyl and normal black vinyl version.

"Balance", the artist's third album, is a return to the roots, i.e. towards club sounds - on the album you can hear several amazing guests - Dominik Płonek, YANA, Dizkret, Runforrest, Einar Indra from Iceland and DJ Eprom. A unique mix of artpop with sophisticated electronics, which Envee brought together with its amazing mixing and mastering. For dessert, Barrakuz, which took the title "Balance" from Wojtek Koziar's photo to a new dimension with its collage. Everything is perfect on this album.

Italian newcomers E.T.H (Italy) and Palmiz go head to head on Gestalt Record for a techy 4-track exploration, surfing between big room utility and heady club shuffle.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Pariter has lined up a trio of classic house reissues for your enjoyment this Spring. They come from Smooth & Simmonds who are famous for managing to smooth out the differences between house, garage and techno and are firm favourites of deep-digging heads for that reason. All of these cuts - which like the other two EPs have been freshly remastered for the occasion - are some 30-odd years old and are textbook examples of timeless grooves. 'Climax' has tight, kinetic drums that punch out an irresistible pattern as swirling pads fishing them off up top in some style.

“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.”

‘Didgeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire.

“I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.”

Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.”

‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

‘Digeridoo’ (Expanded Edition) by Aphex Twin is available on R&S Records from 31st May 2024.

Repress!

The release of Crosstown Rebels’ SPIRITS compilation is always a bastion moment for the label. The first edition came to prominence in 2017 and we’ve been graced with an annual compilation ever since, showcasing a consistent habit to champion established artists and breakthrough ones alike. Now, Crosstown Rebels’ lauded SPIRITS series will see the light of day once more in June, with the release of SPIRITS V.

NYC-native Layla Benitez leads proceedings with Fides, a progressive-leaning, introspective number that retains an inherent danceability throughout. It kicks off the compilation with a driving energy, one that’s perfectly matched by Trabajar - the Crosstown Rebels debut of recent Hot Creations inductee Mr.Diamond.

A techy-inspired cut, punchy four-four drum patterns create a distinctive late-night feel, as UK-talent Denney soon arrives with Kill The Soundboy. Showcasing the groove-laced house sound with which he’s become best known, the near seven-minute piece is sure to light up many a club setting this year, paving the way for Talk To Me. It’s a collaborative venture between Munich-based artist ASK:ME and El Muerto, with Soulfoot featuring on vocals. Retaining a vintage Detroit style, the fast-paced tempo creates a natural excitement before Romanian-born mainstay GruuvElement’s gifts us the minimal-toned Boom Room.

Building with tribal-like percussion and salsa-inspired instrumentals, it’s a playful excursion into dance music’s outer realms, paving the way for young Peruvian producer Chinonegro with My Moment. Whether it be the pluck of a guitar string or a jazzy trumpet solo, there’s an inherent authenticity to the six-minute piece, as a mid-track breakdown gives way to whispering hats and a rhythmic underlying backbone.

The penultimate offering comes from French-born, London-based regular Maglia, who serves up the enchanting Rayiys. The chirping of birds resides atop an ever-changing bassline, leaving us open and ready for the VA’s closing saga: Thanks Moon, by Spain’s I AM JAS. A heady combination of beautiful lyrical contributions combines with softly moving electronic elements, to leave us in a state of calm, inward reflection. Rounding off proceedings on a note of quietude, it reminds us of the final moments in clubland, transporting our psyche to sunrise, fond memories and everything in between.

Over a period of nineteen years, Damian Lazarus’ Crosstown Rebels has evolved into a world-renowned institution, garnering global audiences thanks to a consistent schedule of quality releases. In years since it’s earliest beginnings, the likes of Maceo Plex, Art Department, Seth Troxler, Ali Love, Mathew Jonson, Pier Bucci, Acid Pauli, Dennis Kurtel, Francesca Lombardo, Glimpse, Aphrohead, Fur Coat and a plethora of other figureheads have all found their home on the label.

The roster is international, showcasing how Crosstown has shaped a truly global scene. Releases are born in different continents by artists who hail from different countries, resulting in a sound that resonates worldwide. Perhaps most pivotal to the label’s success is its musical output: no part is governed by boundary or genre. It’s underpinned by a truly eclectic sound, one that reflects the diversity of Damian’s love for music itself. An album from drum and bass icon DJ Krust here, a maiden LP from Audiojack there… traversing genres has been Damian’s forte for decades - and Crosstown epitomises that as a result.

It’s approximately been a year since Antoine lost what would have been his debut album, ironically dubbed ‘Humour. Positivity & Affection’. In its wake, stemmed the idea for the producer to reform his conceptually based project (Mise En Place) into a vinyl only label.

The Land Down Dunder EP being the first, of hopefully, many releases throughout this new imprint. The label head feels there is no better way to start this campaign, than with a body of work, entirely inspired by the modern, timeless TV Sitcom - The Office (US).


The opener ‘Australian Reds’ looks to bridge the gap between Progressive House and Antoine interpretation of Minimal. Matched with Ghanian inherited grooves of course.

‘Colombian Whites’ as suggested by its title, widens the eyes and warms the soul with its textbook, 90’s House inspired Kicks, Hi’s and Baseline. Synthy melodies run throughout the mid(s) of the track to marry the ensemble together. Fitting for all terrains, but would be highly favoured in the Summer.

The B-Side flips the script in tone, tempo and texture - pulling on Antoine’s repertoire for groove laden Techno - ‘Cafe Disco (AK’s Rare Groove Dub)’ brings you to the after hours of any setting with it’s full bodied percussive rhythms, beautifully automated soundscapes and highly persuasive swing. Lastly, the EP is capped off by ‘Threat Level Midnight’. A nod to Antoine’s versatility within the realms of House and Techno. An incredibly versatile track, structurally inspired by the producers love of Hip-Hop. A cacophony of ethereal chord progressions run throughout the track alongside one moody baseline, as well as solemn drum patterns which progress in both body-feel and stature.

Congratulations is the debut EP for Raji Rags - DJ on NTS Radio, a label head, an A&R or behind the scenes at institutions like Boiler Room, Warp, Bleep, Livin' Proof and now at the helm of his own label, OTIH Records. The EP features instrumentation from members of Speakers Corner Quartet and a collaboration track with Taiwanese producer, Sonia Calico.

Confirmed mixes, reviews, radioplay and press confirmed from RA, DJ Mag, Mixmag, NTS Radio + more launch parties TBA. Limited edition run of 300 hand screen-printed vinyl.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

Celebrating a monumental decade for music, birthing numerous timeless classics that pushed music to new heights Smash Hits The 80s takes the very best tracks from the decade across 2LPs providing the soundtrack to the era. This must-have collection contains hits from artists of all genres, featuring New Order, Duran Duran, Spandau Ballet, The Smiths & Talk Talk.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

The Issues label keeps up its fine early momentum with a new EP from Pau Roca with a remix from Crue. It is another tasteful 12" that comes on the heels of a deep outing from Dubbyman and an inaugural release featuring fresh versions of Joan Bibiloni by Kiko Navarro & Willie Graff.

Opener 'Daradada' is a spiritual deep house cut with swirling pads and classic vocals drifting next to the jazzy keys. It's expansive and cosmic in design and one that touches the heart on many levels.

'Here Comes The Moon' is another cut that shows off Roca's mastery of astral melodies. His gorgeous chords and delicate keys rise up to the stars as warm, dynamic drums bring the weight down low and spoken words unfurl in a seductive fashion. The Crue remix of 'Daradada' then brings more drive with harder but still organic house drums and hits.

The chords take on a melancholic quality and an elastic bassline pumps the party with a playful sense of energy. Last of all is 'Get Down' which once again sinks you into a beautifully warm and heady world of soft focus chords and late-night synth work.

Repress!

Straight Outta Belpaese, MORE disco – exotica – balearic – Italo - funk for the demanding digger!

When do Belpaese ever disappoint. A double header of hidden edit treasures, cut loud on either side of 12" for some much needed good vibrations.

2024 Repress

With over 20 years of experience in the scene, Digital World will mark Break’s fifth solo album amongst a stack of anthems across the years. The Top D&B Artist of all time on Beatport, Break has built a huge reputation for crisp breaks, heavy bass, and strong melodies with stellar D&B cuts like Last Goodbye with Celestine, as well as I Got You with SHY FX, Breakage and Tyler Daley. His output of killer remixes and singles have to led to this latest project for 2023, which looks to be a big year for Break and Symmetry.

Break continues his legacy with this flawless body of work which truly encapsulates his timeless, forward-thinking sound that continues to push the limits of the genre. The album contains a stacked line up of features, boasting vocals from legends MC Fats, Charli Brix, Fox, Liam Bailey, Lorna King and SP:MC, all amongst that signature Break production of crisp drums and huge, system rattling basslines.

Roman producer, DJ and label head Marco Passarani is back to duties with a new 12” on his own imprint Unrelatable. Marco’s explores advanced deep acid grooves balancing traditional approach with updated writing techniques, where analog and digital blend in consistent harmony. “Road to P’Jem” is a solid jam with old school Belgian techno flavor while “Katra’s groove” has a deep nocturnal touch thanks to suspended thrilling melody on top of a bubbling fm bass. The package is completed by the uptempo acid techno jams “HyperUno” and “HyperDos”

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland CR-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

Italian Ibiza favourite Tuccillo returns to legendary NYC label Nu Groove with another four-track EP, ‘Frames’, including a feature from Chicago native Ron Carroll. With previous Nu Groove releases like the ‘Sunshine City EP’ and ‘I Believe’ with TradeCraft earning the respect of esteemed selectors including Archie Hamilton, Chloe Caillet and Laurent Garnier, Tuccillo’s expertly crafted sound is revered for its analogue approach. Similarly, his passion and respect for vinyl has earned him respect from crate diggers and house music tastemakers globally ever since the 90s. Tuccillo’s ‘Frames EP’ opens with the eponymous lead, showcasing his malleable sound that comes alive in underground scenes for heads in the know. Chicago house authority Ron Carroll lends his vocals to ‘Don’t Walk Away’, supported by Tuccillo’s fresh club-defining production that also permeates ‘You Got Me’. ‘Everything’ closes out this collection of pure house excellence, with expressive yet softer synthwork creating a cooler feel perfect for the afterhours.

Main Title (The Taking Of The Pelham One Two Three) (Edit) by David Shire b/w One Way Glass (Edit) by Manfred Mann Chapter Three | Galaxy Sound Company, Solo 500 — SOLO500-502 | I am excited to share a sneak peek test pressing of the third & latest entry in @galaxy_sound_company’s Solo 500 series, which digs deep in the jazz-funk crates for killer breaks ya need in yo bag.

Side A is an edit of the jazz-funk intro track “Main Title” from the original soundtrack of 1974 gritty subway hijack film The Taking Of The Pelham One Two Three. The soundtrack with its funk, jazzy score has been a well that hip-hop artists have repeatedly drawn from. Most notably, “Krazy Kings Too” by Company Flow, “Suprize Packidge” by Mix Master Mike, & “I’m Set” by Goodie Mob.

Side B is a subtle edit of “One Way Glass” by Manfred Mann Chapter Three, which is taken from their self-titled 1969 LP. Manfred Mann Chapter Three were a British experimental jazz rock band, 1969 to 1970, founded by South African keyboard player Manfred Mann & long-time partner Mike Hugg, both former members of the group Manfred Mann. The track was sampled by many, most notably by The Prodigy for their 2009 track “Stand Up” & on “Headbanger” by Krafty Kuts in 2011.

Scoville Records is making a scorching entrance into the vinyl scene with a debut release from label head and pepper connoisseur Chad Andrew. Providing an extra layer of spice to the EP, French legend D’Julz delivers a masterful rolling acid infused remix.

ERICA FALLS & VINTAGE SOUL - UP b/w MAKINGS OF LOVE

UP by New Orleans songstress ERICA FALLS is considered by discerning real soul heads to be one of the finest soul tracks from last year.

From the intro and opening line ‘Baby take me for a ride on your magic carpet. 747 glide through the clouds baby, be my pilot….’ you just know UP is going to be special. The incredible soulful vocals ascend in harmony until reaching the apex, and if you don’t want to come down, simply play it again - It’s ‘classic in the making’ tag ensures freshness upon multiple listens!

For the B Side we have dipped back into Erica’s catalogue and hand picked the exquisite MAKINGS OF LOVE from her 2017 Homegrown album.

Real modern day Nola Soul make this an essential 7”.

Estamos entusiasmados de anunciar el repress de nuestra primera referencia.

Parece que fue ayer, pero han pasado 5 años desde su lanzamiento, un momento que marcó un hito en la historia del mundo del vinilo y la música electrónica. El álbum fue un éxito instantáneo, volando de las estanterías y agotando todas las unidades en cuestión de meses.
¡Pero la espera ha terminado! Ahora tienes la oportunidad de poseer una pieza de historia con este repress limitado. Solo 200 unidades en vinilo de color rojo sólido están disponibles, meticulosamente remasterizada por el legendario Simon Davey en “The Exchange Vinyl” para esta ocasion.

y celebrar el quinto aniversario de este álbum icónico. ¡Haz tu pedido antes de que se agoten!

Así que, queridos melómanos, prepárense para celebrar el quinto aniversario de este álbum icónico.

Este repress es un tesoro que debes tener en tus manos. ¡No pierdas esta oportunidad de ser parte de la historia y haz tu pedido antes de que se agoten!!

»Therapy« is a new experimental electronic music album by Alexandre Bazin that explores musical reasearch on the edge of ambient music, with a reminder of classical music. His instrumental music revolves aroun

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

More Rice is back with their 7th release, “Double-O-Seven”, the first split EP between More Rice head honchos DOTT and Sarayu. The Ep showcases the artists’ own way of interpreting the acid bassline.

The A-side Bullets On The Floor is built on DOTT’s signature basslines on a 303 with a moving atmospheric background texture throughout the track, combined with haunting noises and melodies from his trusty Prophet 6. Pricey Drive Down was made with the same foundations and instruments, with the idea of creating something different with the same timeframe.

On the B-side, Sarayu’s 4am Sci-Fi features a prominent arpeggiator throughout the track together with a rhythm created from a sequencer. A surprise on the second drop included, one for the dance floor. On B2, a trancier track of the EP, comes with rolling acid basslines with drums that keeps the tracks moving.
Made for club use!

Nørus & Dj Whipr Snipr team up for Gravitational Attraction on Nerang Recordings. Queensland based DJ/producer and label head Dj Whipr Snipr has been running Nerang Recordings since 2016, putting out music from the likes of Interplanetary Criminal, Subjoi, DJ Swagger, DJ Bowlcut, J. Albert, Cassettes For Kids, and many more since its inception. Teaming up with Brazilian DJ/producer and Gestalt Records alumni Nørus here, the duo air their Second collaborative EP With flavours from Breaks, Electro, Techno and beyond.


Early support by: ÂME, Noah Pred & Eduardo De La Calle + many more!

The 2nd instalment in Headset’s VA series, showcasing unsung Scottish artists making alternative club music.

Hectic Grub & LWS push forwards, bringing 2 broken techno-bass bubblers on the A-side.

On the B-side, Creep Woland goes deeper with a 160 floater and Fourth Precinct finishes with a spooked out electro breaks roller.

Submorphics’ new imprint Rosebay Music returns with its 2nd release - this time joined by North Quarter boss and soulful D&B aficionado Lenzman. Melding adjacent styles ofsoul and funk once again, this 2 track single is primed for dance floors, headphones, road trips and reflective late nights.

Echoes of November sees the longtime friends and collaborators fusing skanked-outfunk with steppy drums, Detroit-style synths and a haunting soul vocal echoing from thedeep past.

On The Messenger, Submorphics gives us an esoteric solo tune with ultra-rollingdrums, standout catchy vocals and deep musical flourishes.

Rosebay Music continues to wear its heart on its sleeve; presenting emotionally andmelodically engaging music to discerning D&B lovers.

Stay tuned for more!

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music.

Remixers on this 12” includes both staples and newcomers to the RNT production stable. Label co-head JKriv turns in a late-nite bass mix of the exceedingly popular ‘Porque Yo,’ Captain Planet delivers a percussive & thumping afro-house flip to “‘Espantapajaros’, Tigerbalm brings her chugging international disco flair to ‘Pa’lante,’ Prince of Queens digs deep with a housey dub of ‘Calla,’ and Londoner Clive From Accounts takes ‘Cana Brava’ into moody nu-disco meets amapiano territory.

With a collection of remixes as prolific and solid as these, RNT opted for an expansive 12” and 7” package which features seven of the remixes across two slabs of vinyl, with gorgeous artwork that flips the moonrise eclipse motif of the original Habita album cover perfectly in a slick device that reveals a crescent moon as the record is removed from the jacket.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

California house music maestro Jason Merle returns to Whiskey Pickle in 2024 with a revamped mixdown of his slow burning deep chugger 'Fester' paired with the previously unreleased jackin' house groover 'Can U Handle It'.

On the B side coming in from London town we have ALFOS very own Sean Johnston (Hardway Bros) turning in an absolutely wicked rendition of 'Fester'. Hardcore you know the score, acid house for the headstrong. Whiskey Pickle will make you wiggle!

Early support from Erol Alkan, Space Dimension Controller, Makossa, Eddie Richards, Alinka, Marco Carola, Audio Soul Project, Maceo Plex, Alkalino, James Zabiela, DJ Nova, Paco Osuna, Sam Divine, Cole Odin, Harri, Severino, Bruce Tantum, Hakan Dahlby, etc.

Northern California psychedelic sorcerers Carlton Melton are brain surfers, mind trippers, … “psychlists,” if you prefer. The band will take your head for a ride, occasionally rushing at superluminal speeds through a wormhole or gliding softly on a gentle breeze in a leafy glade. Sometimes your brain needs to rage, and sometimes it needs to repose. For a decade and a half, the band has yo-yo’ed, almost schizophrenically, between these two modes: walloping space jams with furious guitar solos in one hemisphere of the brain and ethereal, feather-light splashdowns in the other. Not to mention a track here and there that builds from the latter into the former. But with two new releases in 2023, the band has evolved. Whether psych rock or ambient trance, their sound remains driving, organic, and flowing. With the addition of Anthony Taibi (White Manna, DDT), however, the group’s metal freak-outs are Hawkwindier and their droning kraut trances are Spacemen 3-er. In January, the quartet released the playfully spacey Resemble Ensemble, recorded in Taibi’s home studio 3D Light. October now sees the band Turn To Earth, a work with scents of Autumn, a season of death and transition. The cover art evokes a vine-covered, electric crucifix. The sound is, well, earthy but also gritty and striving towards change. The album was recorded in Fall 2022 and now harvested in Fall 2023. Phil Becker (Terry Gross, Pins Of Light) contributed drums and percussion to a few tracks on Turn To Earth, recording the album at El Studio in San Francisco.

With Becker at the helm, the synths have become more prominent (“Cosmicity,” “Roboflow,” “Migration”) and the tone heavier on the doom (“Cloudstorming,” “Unlock The Land,” title track): several moments could even serve as background music for epic dark fantasy films like Conan the Barbarian, Fire and Ice, or Heavy Metal. As exquisite as Turn To Earth is, Melton are best appreciated as a live act: their recordings as well as their gigs are largely improvised – not so much composed as birthed. And yet their most recent tour ended abruptly and perilously. The group had to cancel its final three shows once members were admitted to Arnhem hospital in the Netherlands. Five years later, reinforcements have strengthened the band and restocked its arsenal of great tracks. After the rockus interruptus of that 2018 tour and the tantric tease of the intervening Covid lockdown, Melton have some unfinished business. An October 2023 tour is poised to set the freshly minted quartet back onto the stages of Europe and within the cerebral folds of its fans. Turn To Earth, sure … but keep your head in outer space. Carlton Melton is: andy duvall – drums/gtr; clint golden – bass; rich millman – gtr/synth; and anthony taibi – synth/gtr.

One of the most consistent new labels around, Cyphon Recordings, marks double figures with another standout release that gleans from the past, but faces the future. This time they look to the talents of Emotive Technology, a new alias from Chilean Massiande who provides a five-track EP of machine-wielding, soul-rousing techno from across the spectrum.

Although this may be the first release under his new moniker, Massiande has spent the last decade putting out productions with labels such as Housewax, Phonica, Freerange and Groovin. Firing on all cylinders from the get-go, ‘Rise’ kicks off the Walk Into The Light EP. A hyperspace melding of new beat, Italo and arp-operating techno that opens out into a slice of peak-time revelry.

The swirling textures of ‘It’s On’ follow, pushing you into the next dimension. A hypnotic, entrancing and arresting heads-down powerhouse. Crunchy and considered it's the kind of strobe-stuttering basement jam that turns heads inside out.

Two Detroit-leaning tracks ‘Your Zone’ and ‘Walk IntoThe Light’ are up next. The former is a heavyweight machine workout. Layered synth lines and crisp drum programming transfix, as that grooving low-end powers bodies into bedlam. The latter, a Motor-City-influenced tour de force. One that sees Massiande recode the circuitry to hit with a piano-laden stunner, balancing power and presence, with emotion and nuance.

Closing out proceedings, ‘The Swing’ sucks you in deeper. A resonating world of synth stabs, pulsating basslines and atmospheric electronics.

Doing the Emotive Technology namesake proud, Walk Into The Light is machine music hardwired with a heavy sense of soul.

The debut single from North Satellite's 2023 album "Past Life Half-Lived" on El Triángulo Records. Featuring the original LP mix by Darshan Jesrani and alternate versions by Eugene Tambourine and Conrad McDonnell of Idjut Boys fame. One of the true heads. Limited to 300 units.

A globally-renowned selector whose ‘Mastermix’ series and impactful, diverse DJ sets have garnered a cult following for the past decade, Numbers co-founder Jackmaster has seen his focus shifted towards his blossoming discography of late, releasing material via Seth Troxler’s Slacker 85, The Martinez Brothers’ Cuttin’ Headz and CircoLoco Records, plus his own TDSR imprint. Here, he continues to showcase his studio nouse with an impressive label debut on Damian Lazarus’ Crosstown Rebels, unveiling two new original productions across his latest EP, ‘Don’t You Want My Lovin’.

Vibrant, deep and jackin’, featuring resonant stabs, skippy drums and soulful vocals at its core, the bubbly ‘Don’t You Want My Lovin’ is a punchy slice of house crafted for bustling dancefloors, while the airy and trippy ‘Ode 2 U’ takes things into more paired back territories and journeys through vast textures to unveil a wormhole of a production.

Needing little introduction, Chicago’s finest and house music icon, Mike Dunn, steps up on remix duties as he makes his first outing on the renowned imprint. His aptly titled ‘Blackball 303’ interpretation is precisely that: a wicked, acid-laced trip harnessing the original’s infectious vocal while offering an instrumental for those looking to keep things darker.

repress !

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere

A – The opening track, I HEAR VOICES THROUGH THE PIPE sets the scene for whatʼs to come, stirring the imagination with its dreamy, cinematic, organic sounds in disguise. The track provides a guidebook to distilling story, emotion
and image into sonic form.

B – EXCESS ALL AREAS – hypnotizes the dancers with endless, reverberating grooves and a punchy 4/4 beat, introducing the audience to his gloomy world of emotions.

C – LA MANIA – lights up some dark pitched atmosphere around you and makes you feel like you are on the mythical La Mania club dancefloor in complete harmony, surrounded by strange and beautiful trippers. The song is like a painting, with frames that evoke flashbacks.

D – NEW LIFE – is a perfect minimalist setup of a percussion loop, throbbing chords and a sinewy walking bass, and itʼs almost intimidatingly heady. Its militant kick and incessant hi-hats propel the beat – definitely a dancefloor highlight.

Mittlerweile wissen die Heads, dass eine neue Platte von Soul Supreme ein garantiert sicherer Schuss ist. Nach gefeierten Hommagen an A Tribe Called Quest, J Dilla und Mos Def erscheinen zwei völlig originelle Jazz-Funk-Grooves des Amsterdamers Keyboarder und Produzenten aus seinem jüngsten Album "Poetic Justice" mit Jay "J-Zone" Mumford an den Drums, die hiermit zum ersten Mal auf 7" erhältlich werden.

Überkeine sets the tone of his own record label with four esoteric tracks, designed for the club. An obvious intention to establish a radical style with conceptualized sonorities, is revealed throughout the Ep. The sound materials are elaborate, and go straight to the point. Obsessing over the flow of creativity offered by his modular synthesizer, he delivers a very dense techno and already affirms a well-marked identity. Powerful and textured kicks, intricate synthetic sounds contained in an arrangement reduced to the essential. The tracks come to life as the forthright reflection of the thoughts of the producer. Guillotine Whistle instantly plunges into the unbridled world of the Ep. An ominous atmosphere hovers over our heads as it reveals organic and disconcerting tones. A gentle brutality emanates from this whistling guillotine that awaits to cut you up in two. Leading the way towards Drifting Data, a track inspired directly from Jungle Patterns. Überkeine is humbly trying to render DnB to a techno format. The dense, saturated Bassline sustains the idea of breaking the dancefloor in pieces. A hard hitting, broken beat environment accompanied by heavily filtered synthetic chaos. Third track’s the charm, the B side starts with Mirror Moist. A drop-down, wet and straightforward techno track with a carnal Bassline. As sensual as it gets, this track conveys a kinky loop urging intimacy and blasting heat throughout the club. Last but not least, Shaney’s remix of Mirror Moist. Picking up core elements of the original vibe and translating it into the off-beat techno nightmare it deserved to be. Full-on obscure dancefloor piece of equipment.

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Kaiserdisco share their first Drumcode EP in eight years. With a knack for clever vocal hooks and crisp production, Kaiserdisco are never far from Adam Beyer’s thinking when it comes scheduling Drumcode releases. With this in mind, it feels almost unbelievable to think ‘Error in the System’ will be the duo’s first EP on Drumcode since 2016.
In recent times the pair has contributed tracks to the label, highlighted last year’s ‘Get on the Dancefloor’ on A – Sides Vol.12 and their popular single ‘Together One Time’ from 2022. ‘Error in the System’ marks their return to the EP format and is an absolute treat. Lead track ‘In the Music’ is a trippy roller that lures you into a dancefloor trance via an addictive vocal hook, before morphing into an acid - drenched stomper in the second half. The title track is a peak - time head spinner, characterised by muted tones and industrial effects, it’s an eerie and powerful slice of club machinery crafted for maximum impact.

Reunion's major musical genre, Maloya, becomes "gazé" (crazy) through the sounds composed by Grèn Sémé for this new EP.
A gassed maloya that combines direct inspiration from the purest line of this traditional réunionese music with the highly contemporary evolution that is the Grèn Sémé group's signature.
Composed during the studio sessions for their latest album, "Zamroza", the first three tracks on this new EP reveal the sunny side of the Creole band.
You can taste their love of lyrics and their thirst for discovery. And the right mix of compositions. Inspired by the tradition of the greatest song/percussion pieces in the island's history, Grèn Sémé offers three anthems that lend themselves perfectly to the remix exercise.

Deluxe bonus: the 3 Remixes of Voilaaa + La Dame + Guiss Guiss Bou bess
Voilaaa and the fabulous Bruno Patchworks take on "Siko" to create a Cape Verdean ballroom hit.
funana with its heady melodies, it's ultra danceable!
La Dame, producer and DJ from Belgium, remixes the eponymous track into an effective batida for the dancefloor, DJs and dancers alike.

Guiss Guiss Bou Bess take remixing a step further, adding Senegalese sabars and the vocals of group leader Mara Seck to Carlo de Sacco's Alkol.

The "ongakudō / droga muzyki" project is ("The way of music" in English). Initiated by Groh - head of the JuNouMi label (est. 2002 Polish hip-hop label), the project is the result of cooperation between Polish and Japanese artists.

First, Twardowski created music based on samples from Japanese albums. Then MCs KANETSUGU (JP) and Prykson Fisk (PL) were invited. The next element were DJs - 1an from Tokyo and DJ Eprom from Warsaw (former IDA world champion).

An important element of the project is the graphic design, for which Małgorzata "Mauko" Korczak is responsible - exploring the art of Japanese Shodō calligraphy. As many as three versions of covers were created. One limited edition (hand-numbered 100 pieces), a version with a black wax and a version exclusively for the Japanese market.

This 7" is the first part of the Polish-Japanese series. It is the beginning of our journey.

repressed !

Office 04 circles in memories: The record is about Johannes 'Iron Curtis' Paluka's time at Karl-Marx-Straße Berlin where he used to live next door to label head Baaz and graphic designer Chris Fladung.
A1 track 'Magnet' is an ecstatic piece of house music holding all elements IC's production is esteemed and loved for : Heavy, unrelenting kicks, rolling bass lines, shimmering pads, topped with searing hot yet gamelan-like synts and an icing of slightly loose, detuned organ stabs predesting grand emotions on any dance floor. 'What happened happened' surely marks up as another proof of Curtis' fearless takes on house music: distorted field recordings and blurred spoken words, a web of gossamer melodies and subtle clicks and cuts, all cohered by the louche bassline and the reshuffled groove in a true dilla-ish vein.
Adapting elements to their own agenda, clandestine groove explorers Berg turn 'What happened' into a true midnight roller: razor-sharp hihitas join forces with a steam-maschine like percussion, whipping relentlessly in-between kick drum and kick drum. Berg cools off their take with prancing melody motifs and strung out pads of the original track, though never loosing focus of the 'reductions' aim: keep the dancer dancing.

Retromigration makes a welcome return to WOLF Music following up from Straight Foxin, his debut album on the label. For Cloudin he presents six deep cuts that once again showcase the German producer talents and abilities. Dusty samples sit alongside original compositions, hitting that musical sweet spot. Fans of Retromigration, this might be his best work to date! This one’s for the heads.

The title track "Who You Are" has become a dance floor favourite making appearances during Templé's DJ sets opening for the likes of Rick Wilhite, Osunlande, Trus’me, Rahaan, Alkalino, Late Nite Tuff Guy, Hidden Spheres and Harvey Sutherland.

It's the kind of track that can get the party started, keep it going or close it out with its tough verses, 303 acid line, drum machine build up and poppy chorus. It’s so versatile that it’ll never leave your record bag. Staying with side A, the EP's charm is further amplified by Prins Thomas's magical remix of the title track.

This luminary of the electronic music scene adds his Nordic touch in only the way that he knows how. Delicately weaving his disco sensibilities into the fabric of the original track, making the chorus the break down, turning the original track on its head. This one will get you in the feels.

Flipping the record over to the B-side, we encounter "Wait For Love." It's a powerhouse of a track, driven by a rolling acid bass line and a saxophone solo that lands right in the sweet spot, ensuring the party never stops.

The vocals soaked in effects and skilfully sliced and diced, guides the listener's focus making it the perfect tune for those late night dance floor occasions. Then there's "The Tetrah" - a departure from the rest of the EP. It's a deeper and more intricate piece featuring the soulful interplay of saxophone and trumpet throughout. These two instruments seem to tease and tantalise each other, never quite aligning until the final drop. It's a near 9-minute journey and each moment holds your attention.

RT PRO is the new Right Tempo line “for professional use”, addressed to a discerning audience and released on 12” Single format along with a curated packaging. This first instalment is a follow-up to the acclaimed "The Congregation - Jazz Alliance International" compilation by Jazzcat. It features never previously released and brand new remixes of the mythical "Seasons in My Mind" track by Japanese producer Yellowtail feat. legendary jazz singer Mark Murphy. In addition to the Original, come remixes by Further Out Recordings’ head Richard E feat. saxophonist/flutist Jake Telford, by Frankson (one half of the British electronic duo Part Time Heroes), and by all-round musician and producer Emanative, who invited his longtime friend and collaborator, keyboardist Jessica Lauren, to join him for this special project.

The brainchild of two lifelong friends, HOTBOX presents its sonic manifesto through a debut VA compilation. In Sonic Sauna, the two label heads Maikee & Nathan Boost pair up with Mtty & Pistaccio and deliver four sonic concoctions to hot your box from side A to B. Each artist has its own take on the HOTBOX. From the adventurous A-side brimming with emphatic melodies, to the more eerie B-side where ominous basslines take center stage. Nestled within the confines of the HOTBOX, the sanctum of relaxation unfolds in the form of an exquisite sonic sauna, a veritable haven where the symphony of rejuvenation orchestrates an intimate dance with the senses.

Noroi debuts on Mechatronica with a uniquely futuristic collection of razor sharp, forward-thinking rave tracks across electro, left-field techno, bass music, broken beats and more. Cut-throat club hybrids for the heart, mind and floor.

"DUBTERNAL" is an ode to the healing power of instruments.
An ode to human touch in an ever-increasing artificial world.
An ode to that young punk with a guitar on his back, heading to rehearsal space, reminding him that it's always worth pursuing creativity in all forms and shapes."
Egoless 2024

For the latest edition on Humanoid Recordings, co-founder 4D hits with a 4-tracker made for the dancefloor.

'Stupidity' starts with intention with ethereal driving tech house, reminiscent of the wiggle/end recordings golden days. 'Quantum Theory' follows in style with a relentless bassline, layered with satisfying arpeggios and naughty synth lines

'World in our Head' picks up the pace with an interweaving, high energy attack perfect for the peak time before 'Sowie Lockers' closes the EP - a euphoric after hours delight with bright pads and playful melodies, rounding things off in a tasty fashion.

The Lovely Eggs return with new single 'My Mood Wave' to be released February 9th digitally & on a 7" single to follow March 15th. New album due in May. It's been four years since the world heard any new music from our heroes in psych-punk-power duo The Lovely Eggs. Four long years since the release of their Number 1 Independent Chart topper, 'I Am Moron'. But it's not like they've been lazy, oh no. They made their own TV series EGGS TV and hosted it on YouTube, they duetted with Iggy Pop, piled into their van and played a load of sold out gigs and festivals, spent two years fighting to save Lancaster Music Co-Op (a community rehearsal rooms and recording studio where they live), and then they got their heads down and wrote a new album_ Due in May, the new Lovely Eggs album was recorded by the band at home in Lancaster with production work from Flaming Lips producer Dave Fridmann. They flew to America in December 2023 to mix the album in Fridmann's studio in upstate New York and we'll all get the chance to hear the first results of these sessions on the 9th of February, when the band will unveil the album's first single, 'My Mood Wave'. "My Mood Wave is kind of an internal thought monologue," says Eggs singer and guitarist Holly. "It's a brain on a surfboard, trying to navigate the barrage of daily shit that gets washed up each day. It's a coping mechanism handbook for people who sometimes find the world too much." 'My Mood Wave' has an uplifting contemporary feel, haunted by a West Coast retro vibe that pulses and shimmers with a gorgeously addictive melody that will float around your head for days. Although the single will be released digitally on February 9th, there will also be a physical 7" with the customary mind-bulging artwork from Casey Raymond, and an exclusive track tantalisingly titled 'Crab Shell' on the flipside. The 7" will be released on Aquamarine transparent vinyl and in true Lovely Eggs style. More details on The Lovely Eggs new album to follow...

Yuki Kanesaka, the multi-instrumentalist/Producer who's been the Mastermind behind his monolog project recordings is back with the delicious uptempo cover of "Watermelon Man". He indulges us with star-studded features of Bill Summers, the percussionist of the Head Hunters and Curtis "Fitz" Williams, the musical director and keyboardist/saxophonist of Kool & the Gang. The backstory is, Yuki traveled all the way to Bill Summer's home studio on Valence Street, New Orleans to record Bill playing a variety of alluring percussive instruments. That includes playing Hindewhu, the style of singing/whistle-playing of Central Africa mixed with a Peruvian Pan flute Zampoña much like the infectious Head Hunters version. Other notable instrumentations include congas, and shekere and Bill's hand scratching used as a human shaker. Curtis Williams plays the lead soprano sax melody we all know and love, with some added clavinet that adds extra sugar to the watermelon funk. B side features a special drum break version called "Bill's Valence Street Jam", so you can really savor the mouthwatering groove of the Watermelon Man. Both tracks are performed, produced, mixed, and recorded by monolog aka Yuki Kanesaka.

Oceanvs Orientalis teases his highly anticipated album 'Portrait of the Obscure’ on Crosstown Rebels with the third and penultimate single ‘Neurality’, remixed by 8Bit and Cecile head honcho Nick Curly. Istanbul-based Safak Oz Kutle, aka Oceanvs Orientalis, is a producer and live act who blends the rich sonic cultures of Turkish, Kurdish, Armenian and Arabic music to curate his take on electronic music. The first two singles from his forthcoming album on Damian Lazarus’ legendary Crosstown Rebels have showcased his diverse sound at its fullest, and now the third offering and final single ahead of the LPs release confirms him once again to be a standout talent as he unveils the captivating sonics of ‘Neurality’.

An absorbing and stirring production, ‘Neutrality’ brings a darkly involving groove that is multi-layered and hypnotic, with several shimmering vocals, jangling percussive lines and ethereal pads all locking you in for an enthralling ride. A remixer who needs little introduction, Nick Curly is as integral to the tech house genre as anyone in the scene, heading up key labels such as 8Bit and Cecile while helping to define the genre as we know it today. His interpretation is deep and warm, with slinky drums carefully deployed amongst vocal whispers that bring human soul. An excellent final preview into what’s still to come, ‘Neurality’ delivers another exceptional production, leading perfectly into the release of the full-length project this April.

Over the past decade Rising Sun has firmly established himself as a purveyor of the finest deep, dubby and cinematic leaning house and techno, consistently delivering a sound that is distinctly his through labels such as Fauxpas, Freund Der Familie and his own numerous imprints Reality Used To Be A Friend Of Mine, Kristofferson Kristofferson and Beautiful Things Don't Ask For Attention under a variant of guises such as The Ambientist, Rising Sun Project, Rising Sun Psyche, Rising Sun Melancholia and simply Rising Sun under which he returns here for Echocord. As one has come to expect from a Rising Sun release ‘The Eternal’ has a firm foundation in emotive melodies and atmospherics across six alternate versions. ‘Eternal 1’ leads with muted drums, fluttering stabs and a preaching spoken word vocal. ‘Eternal 2’ edges into darked realms, merging expansive dub echoes with swelling subs and tension building strings before ‘Eternal 3’ dives head first into ethereal hypnotism via unfurling textures, soft stab sequences and a rounded kick. ‘Eternal 4’ opens the B-side with a subtly unfolding construction as vocals, chords and swinging drums run in unison. ‘Eternal 5’ then strips things back to a gritty statured feel with boomy percussion, enchanting strings and nuanced stabs before ‘Eternal 6’ rounds out the release laying down murky, multilayered pads, widely dispersing reverberations and bubbling delays throughout.

Mad-heads, rave veterans and lovers of having their brains rewired by previously unexplored sonic realms unite, because here comes the first of four, yes four, new albums from the fantastic freak of nature that is Special Request. His 'What Time Is Love? Sessions' arrives in several different formats this month and across six sizzling tracks that re-wire the KLF's hit of that name, he taps into everything from "ephemeral ambiance to barnstorming hardcore, pummelling house to pointillist trance" and does so with a mix of the surreal and the psychotic, the psychedelic and the downright ridiculous. It's mental, and we love it.

Rhythm Cult is back again as last summer hit ‘PPPPP’ from youANDme gets a second special package of reworkings from a band of meticulously selected remixers from around the globe. This time we welcome the likes of Shed (50 Weapons, Ostgut Ton) and Johannes Albert (Live At Robert Johnson, Renate Schallplatten) to the Cult to provide exciting new iterations breathing their unique spirit into an already memorable track.



First up to the platter is raw techno purveyor Shed in his Head High guise, who serves up a faithful but turbo-charged rework. The original’s ludicrously addictive vocal refrain returns, orbiting endlessly across the soundscape while the drums get serious steroid enhancement creating a weighty groove that hits hard. One of Rhythm Cults' favourite house producers Ian Pooley comes next, returning to deliver a sublime raw house re-take as only he knows how. Filtering and manipulating the vocal cuts and old-school stabs, he creates a bumping excursion into the cavernous depths, complete with lush echoing dub chords and jackin’ percussion. One for the house heads and as always, dancefloor dynamite. The Drunken Diva ‘Scream Mix’ shifts down through the gears to create an almost lilting, off-kilter dub-influenced iteration. Perfect for those hot late-night summer dancefloor moments, this cut takes it deep and dark. Finally, Berliner Johannes Albert swoops in to direct the track into a crunchy minimal 808 territory. His rework is complemented by some slick vocal chopping and frequency-shifted segments elevating the track to a new plateau.



Another fine series of remixes ensures ‘PPPPP’ will be lighting up dancefloors this

summer season and beyond. Rhythm Cult continues its mission to showcase some

of the most talented and forward-thinking producers out there.

Faith presents the second volume of ‘Ain’t That A Groove’, a series of 12” pressings collating current and forthcoming productions and remixes from the London label. Originally launched in 1999 by Boy’s Own legend Terry Farley alongside Stuart Patterson and Dave Jarvis, the cult label relaunched in 2020 after renewed interest from house heads and Faith fanzine readers. Opening up this collection, one of Chicago's finest house producers and songwriters Robert Owens and his 2023 collab with Nolan ‘I’ll Be Your Friend’, a bona fide house classic reignited for audiences of today. Hilit Kolet’s ‘POV Siren’ follows, a stomping club cut that received support from the likes of Carl Cox and TSHA. The four-track press also includes New Zealand talent Philippa’s remix of ‘The Night’, originally by Pete Heller & Terry Farley as Roach Motel, as well as Terry’s latest release with frequent collaborator Wade Teo spotlighting Kameelah Waheed on vocals with the TDK 90 Dope Mix of ‘Dancing After Dark’.

We are very proud to present the label Solitar. Coming out of Stockholm/Sweden, a place with a long line of significant and well respected techno labels, we start things off small and considered. We hope it is a humble beginning of something that will grow into its own over the coming years.

To make this launch as special as possible the label head himself, Lakej (Filip Strom), is behind this powerful solo EP. Delivering on this 12" four razor sharp dance floor tools accompanied by a very moody ambient outro trip.

Enjoy!

BAR Musica is back with a fresh new project and a new look.#

After the incredible release by Francesco Mami with the legendary Fred P on the remix duty - which went very well - label head Bartolomeo teams up with his musical soul mate Jesse Marcell and give birth to DISCOCLUBBERS. With a very introspective minimal re touch by the uk legend Lee Renacle aka 100Hz, this release is a must have for any moment of your set, from warm ups, to pick times to afterparties (our favourite, of course!)
This record is dedicate to friendship.

Free Hand was Gentle Giant's seventh album, originally released in July 1975. This album was the most commercially successful of the band's career, reaching the top 40 albums in Billboard Magazine. It stands as the culmination of the band's maturity, following the successes of 'In A Glass House' & 'The Power & The Glory'.

Having toured Europe & North America non-stop in the years prior to this release with artists like Jethro Tull, Yes, Zappa etc, the band had gone from strength to strength. By the time 'Free Hand' was released Gentle Giant had become a major headliner in their own right. All the members were multi-instrumentalists and the band were never afraid of surprising an audience with a 4 part recorder ensemble followed by a vibraphone solo, all the while rocking the audience and thoroughly enjoying themselves onstage.

Gentle Giant albums featured many songs with both literary subjects as well as social and personal commentary on life as rock musicians. 'Free Hand' has more than most. The title of the album and first track were so named as the band had just changed record labels and management and felt unshackled by prior contractual obligations.
Putting these issues behind them upon its first release, Gentle Giant embarked on an extensive tour of North America and Europe, plus a short tour of the UK, to promote the album. The incredible range of Gentle Giant's music is evident throughout this album. From the intricate vocal fretwork of 'On Reflection' and the delicate medieval
flavour of 'Talybont,' the Celtic-tinged rock of 'Time To Kill' and the jagged rhythms of 'Just The Same,' all those diverse elements which made the band so strikingly original are skillfully blended and perfectly executed.
Award winning producer and musician Steven Wilson has added his delicate touch in remixing 'Free Hand' . His tonal range and painstaking attention to sound quality make 'Free Hand' sound as fresh today as it did on first release. A fitting tribute to the compositional skills and expertise of five dedicated musicians.
This special gatefold 2LP edition is pressed on White Vinyl and limited to 500 pieces worlwide

Be As One is excited to release the long overdue "Romantic & Dead" LP, the debut Album from one of the most talented artists of the recent generational Techno movement, and the label regular "Kashpitzky".

Being the hyped Berlin based producers most crafted project to date, the Buzzing 11 tracks LP is spread over 2 vinyls, astonishing covered artwork and shiny polished product, and reflecting the different shades of techno from several moments of the night, tailored straight from the mind of the most sought after artist of the recent couple of years.

Lining with the label's raw and old school influenced sound Aesthetics of re defining the term "House influenced Techno", Kashpitzky fits right in as one of the imprint's leading figures, compiling the 5th full length artist album to date from the label, after industry icons such as Kenny Larkin, Samuel L Session, Orbe and the label head Shlomi Aber.

As its title, the Romantic & Dead LP is an excepional abstracted and mixtured techno journey for the heads and collectors both, and marks a significant milestones for the young artist and the established label.

clear vinyl


Brooklyn Sway returns for its fifth release with another all-star cast of names drawn from the Brooklyn underground, as always vinyl only and with label art from NYC mural legend Cern.

Label regulars Vivian Wang and DeWinter lead off the A-side in a tough-but-dreamy style on 'What About Love', the heavily processed vocals of NYC house guru Kevin Williams giving the tune a true NYC afterhours flavor. Next up is David Paglia, also a frequent label contributor, whose 'Spellbound' toughens up the rhythm section with dub bass and a steady breakbeat backbone while liquid pads and the vocal hook hold dancers in their spell.

The flipside ups the ante for grime, leading off with label head Jay Prouty, DeWinter, and NYC OG Emma's 'What We Do', precision tooled for when the afterparty gets dicey. A hip hop acapella floats through a dense web of flutes, breaks, and a rugged house beat: smart DJs will sense main floor potential here, swaying halfway between gangster lean & proper house dancing. Charles Levine from Soul Clap needs no intro, and his 'Gimme A Break' is equally literal, a funky breakbeat belter with effortless vocal flourishes that balances perfectly between hard and smooth, just the way we like it in Brooklyn.

We’re kicking off the new year in style with a fantastic new double header by RAXON. This Egypt-born, barcelonese powerhouse has left his scent marks all over the place in recent years. He has developed an instantly recognizable sound and that’s no small feat in these times shaped by so much formulaic dullness. “Your Fault” sees our Catalan hot shot in an exuberant disco mood. Mind bending chord progressions foiled with Raxon’s trademark vocal stutters guarantee for wonderfully twisted hands in the air moments. With “Beskar” we’re entering Star Wars nerd territory. Jedipedia says, Beskar is a uniquely resistant iron that develops a wide range of properties—and colors—in the hands of skilled metalsmiths. Alright. Musically speaking, we’re dealing with a stealthy, funky as hell trance-not-trance juggernaut. 2024 is off to a good start:)

Wir beginnen das neue Speicher-Jahr stilvoll mit einem fantastischen neuen Doppelwhopper von RAXON. Dieses in Ägypten geborene Kraftpaket aus Barcelona hat in den letzten Jahren überall seine Duftmarken hinterlassen. Er hat einen Sound entwickelt, den man sofort wiedererkennt, und das ist keine kleine Leistung in diesen Zeiten, die von so viel formelhafter Langweiligkeit geprägt sind. “Your Fault” zeigt unseren katalanischen Draufgänger in ausgelassener Disco-Stimmung. Verrückte Akkordprogressionen, gepaart mit Raxons Markenzeichen, der Stotterstimme, sorgen für wunderbar verdrehte Hands in the air Momente. Mit “Beskar” betreten wir Star Wars Nerd-Territorium. Laut Jedipedia ist Beskar ein besonders widerstandsfähiges Eisen, das in den Händen geschickter Schmiede eine breite Palette von Eigenschaften – und Farben – entwickelt. Nun gut. Musikalisch gesehen haben wir es mit einer verstohlenen, verdammt funkigen Trance-Not-Trance-Rakete zu tun. 2024 hat einen guten Start hingelegt : )

Broken Techno/Electronica label Theoretical Rhythms is back with another vinyl release. This time it is a 4-track compilation EP called "Confessions". Featuring a carefully curated selection of tracks from diverse artists, "Confessions" takes you on a journey through emotions, melodies, and introspective narratives. Each track serves as a musical confession, laying bare the artists' innermost thoughts and experiences. The compilation opens with Varna's own Virtually J who masterfully sets the tone for the entire collection with his composition. From there, listeners are guided through a sonic landscape that seamlessly blends genres, showcasing the rich tapestry of musical expression. London duo Getae are showcasing their talent with the dance floor filler "Stumble" and Getsu opens the door to another dimension with his story "Otklonenie". With its minimal composition, broken beats and various effects Getsu invites us to divert from our path and experience another world. The EP concludes with Nickel Eye's "Lodi", a story that starts on a darker side with repetitive rhythm to transform to a jazz epos.

"Confessions" is more than just a compilation; it's an exploration of vulnerability and authenticity. Each artist bares their soul through their music, creating a connection with the audience that goes beyond the surface. "We wanted to create a compilation that goes beyond the ordinary, something that resonates on a deep, emotional level," says Nickel Eye, Theoretical Rhythms' head honcho. "This project is about sharing our musical confessions and inviting others to do the same". With its innovative approach to storytelling through sound, "Confessions" promises to be a standout in the music landscape, inviting listeners to immerse themselves in a musical experience that is both intimate and expansive. "Confessions" is a testament to the power of music to connect, inspire, and evoke raw, authentic emotions. Press play and embark on a journey of musical confessions.

Mystic Transfers is a label focusing on experimental music and club cuts from around the world, taken from the suburbs. MYSTIC VALLEY - Mystic Valley is the new musical project by Andrea B, architect, collector and producer from Florence, Italy. His sound is best described as a melting pot of Italian psychedelic influences, from obscure downtempo to new beat, as well as English breakbeat and German EBM. After years of Tropical Animals he started with Felis Oxiana the project ‘’Galattica’’ and from 2021 is one of the founders of Mizuna. Heading coach of the post punk group Zona Utopica Garantita, he began to work with them since they started to play, and together they launched the label ‘’Mystic Transfers’’, focusing on experimental music and club cuts from around the world.
SPO - Drummer in the ’00 of the underground scene in Florence fond of the 70s Progressive Rock sounds and experimental, co-founder in 2006 of the DIY label La Statua Sommersa Produzioni.
Currently in Florence after the experiences in Rome and 5 years in Berlin with many gigs around Europe and albums with his solo project Die Lust! and the italo-german duo Bloodygrave & Die Lust! establishing itself as a producer and composer in the electronic european musical scene Minimal Wave e Synth Wave. From 2017 began a new solo project named SPO (Solo Per Oggi).

Die Reloop Premium Headphone Bag XT wurde mit dem Fokus auf Funktionalität und Schutz entwickelt und vereint ein schlankes, robustes Äußeres mit cleveren Features. Das praktische Transport-Case bietet Platz für die gängigsten DJ-Kopfhörer und sorgt für sicheren Halt unterwegs.

Die Reloop Premium Headphone Bag XT besteht aus strapazierfähigem Durashock-EVA-Schaumstoff und ist mit einer robusten Polyesterhülle ausgestattet, um den Kopfhörer vor üblichen Reisegefahren wie Stößen, Flüssigkeiten, Schmutz und Staub zu schützen.

Die Reisetasche ist mit einem praktischen Tragegriff und einem Karabinerhaken zur einfachen Befestigung am Gepäck ausgestattet. Ein verstellbarer und abnehmbarer Schultergurt bietet zusätzlichen Tragekomfort. Eine Netztasche im Inneren hilft, Kabel und Zubehör zu organisieren. Die robusten Reißverschlüsse sind so konstruiert, dass sie den täglichen Belastungen standhalten.

Opening a new chapter for DNO Records, PLLFRY debuts on the label with five raucous halftime tracks that also feature collaborations with two vocalists – NST & Genoveva. The ‘Overexciting’ EP is built around iron-clad percussion and a healthy dose of mangled sonic futurism, but the dominating flavour throughout is big, bold, unadulterated bass.

As might be expected of tracks called ‘Demolition’ and ‘Collapse Of The System’, there’s plenty of damage being dealt; the former’s wrecking ball bassline spins violently as its supporting beats splinter and fall, while the latter’s destructive low-end hacks chunks from its itchy sci-fi soundscape like some psychotic sentient buzzsaw.

There’s room for nuance too, however. The title track is all about contrast, its rumbling bassline winding along like a colossal serpent, while hi-hats chitter, and Macedonian vocalist and producer Genoveva delivers a haunting, silvery vocal that’s cold and alluring in equal measure. And as if the undulating low-end and metallic melody of ‘Water Fire’ weren’t enough to make heads spin, the track features a vocal from South Russian up-and-comer NST that seems to slip and slide at will, pulling the track forward and always remaining just out of reach.

Bonus track ‘Old School’ nods to the golden age of hip-hop, taking a tough boom bap-style beat and scratch samples, but flipping it script with machine glitches and pellets of acid.

Like a collection of missives sent back from a hi-tek future, the ‘Overexciting’ EP serves as a reminder that DNO can’t be pigeonholed, and always stays one step ahead.

Rhythms of postmodern realism at the very bottom of the DNO.

Savage Grounds is the synthpunk and minimal synth swiss project of LUX REC head Daniel Cosmo among Florin Büchel and the mesmerizing Kleio Thomaïdes (part of Bound by Endogamy as well). After nine previous releases, Separation Shock represents the last record by the trio before the temporary hiatus they have decided to start. You could expect the classical, raw, and minimalistic sound that defines one of the best acts in the genre coming from central Europe. Pure analog synth madness with the always-evoking and hypnotic vocals of Kleio. A must-have for any minimal wave collector. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid SILVER GREY vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Making a remarkable step onto the CEP booth, Blame The Mono introduces their debut with a magnetic collection of two game changing original tracks. This release not only displays the duo's creative capabilities but also features melting remixes from Hermeth and the label head riko.

The release kicks off with the 'Kneebreaker Mix', showcasing a top-tier interplay of reese bass. The pushing bassline and dynamic vocals provide the track with its living strength. In addition to the effects, the midsection break-beat mirrors the timeless sound of Blame The Mono, showering the listener with unmistakable recognition value. Coming up next is likely the standout piece from the release. The 'Industrial Mix' manifests as a 117 BPM break, highlighting an remarkable synergy of hitting kicks, spicy drums, and leading vocals. This track radiates a rock and metal-inspired vibe, making it truly one-of-a-kind. Opening the B-Side is riko’s trance-infused remix, featuring consistent vocal shots from the original and a galloping bassline. In addition to the dub chords, the monotonous melody assumes control during the significant break in the middle, contributing a hypnotic quality to the track. Wrapping up the release, Hermeth introduces a techno-infused remix, characterized by powerful classic chords and a driving bass that sets the tone on the dancefloor. The original vocal and lead elements illuminate the track, firing it up with a distinctive flavor.

'London Accent' by Blame The Mono drops via CEP Records on 15th January 2024.