Search:heat

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak.
In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

XXX is back with an Split 12“ EP. On the A side we have Spencer Miles and on the AA side Zakmina. Once again XXX brings artists from all around the globe together on 12“. Spencer Miles brings us some dark brooding tracks all the way from Oregon, while Zakmina from Lithuania adds up to the heat with two bangers that for sure will shudder the dancefloor. The artwork is by upcoming photographer Joost Termeer, who is based in Utrecht in the Netherlands. When he heard the track he thought of fire, which was the inspiration for the artwork. We couldn’t agree more.

A testament to the growth of Adam Beyer’s scene-leading label, Drumcode annual A-Sides Vol.8 is the brand’s biggest yet.

The 25-track strong compilation, split across 7 EPs, features standout cuts Beyer has received over the last 12 months, but been unable to find room for in Drumcode’s regular release schedule, such is the volume and high standard of music that’s submitted.

Part 3 includes Will Clarke’s bass-drenched re-work of Adam Beyer & Bart Skils ‘Your Mind’, whilst Ramon Tapia unleashes the heavy hitting ‘Sonic Therapy’ and Nicole Moudaber drops her first DC release in 5 years with the mesmerizing ‘This Is Us’.

The highlight-rich compilation also includes Jamie Jones & Darius Syrossian’s buzzy Drumcode debut ‘The Grid’ and Joey Beltram’s first Drumcode release in 11 years with the retro-tinged ‘Can You Feel It’. The beloved Alan Fitzpatrick returns to the fold with the searing ‘Heiße Rakete’, while the exciting Hyperloop project links up with Upercent for the slinky loop-driven ‘Rouge’, alongside label mainstays Layton Giordani, who drops the stirring chord-driven ‘Chrome’ and Wehbba with ‘Mantra’, combining techno classicism with future-focused groove.

There’s a troupe of debutants donning the Drumcode jersey for the first time, including BEC, Shelley Johansson, Avision, Zimmz, Woo York, SAMA (in a terrific collaboration with Secret Cinema) and Ilija Djokovic, who delivers a shimmering highlight with ‘Aura’, a particular favourite of Beyer’s over the last year. Raxon also debuts on the label after a couple of quality additions to the Truesoul back catalogue.

Exciting young guns Weska and Juliet Fox bring heat to the compilation, while Veerus and Timmo follow up strong DC releases with a repeat dose. Elsewhere faithful contributors Jay Lumen, Luca Agnelli, Marco Bailey and Mark Reeve craft powerful dancefloor weapons.

Italy meets Miami via Holland - A truly international and classic feel all over this latest essential release from high Fashion music!
Disco powerhouse Moplen takes on this true-blue Disco classic from the legendary TK crates and turns in 2 brilliant and fresh reworkings of T-Connection's anthemic 'Do What You Wanna Do'. The A-side 'extended vocal mix' is a killer new version of this now cult record, as always Moplen's deft touch is felt in the tidy rearrangements and respectful tweaks, don't get it twisted though, this is prime-time dancefloor dynamite, it twists and turns in all the right places and still sounds huge. This new version and mix breathes some new life into this cut, a surefire inclusion in any DJ's bag for the next 30 years for sure. Don't forget, on the B-side, there's the mammoth 'Rollercoaster Dub', again Moplen steps up the heat on this version, it's exactly what you think it is, just under 9 minutes of dubbed-out T-Connection chaos, making this 12" a 'do not miss' release.

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

The re-launched Secretsundaze label continues to spread it's wings with the signing of Lisbon born, London based Silvestre.The push and pull of influences from his own and adopted countries have combined to find him a unique sound that embraces rap, R&B, reggaeton as well as breaks and woozy pads from UK hardcore and house. Mixing samples, his own voice and continuing the fusion of reggaeton and breakbeat/techno from previous releases, the Silvestre Is Boss EP aims for a hazy vibe.AAAs Silvestre explains: The pad and synth choices on this EP are picked specifically to sound dreamy, a dream where you arrive at the club but the party is already finished, which sucks." Silvestre began making his name in 2015 with his first release on the Diskotopia label from Tokyo and followed that up with appearances on Creme Organization and Paraiso. He then dropped the killer 'All The Things' EP of mid-tempo party bangers on his own Padre Himalaya label which reached the top 30 of Phonica's illustrious Singles of the Year list. The Silvestre Is Boss EP is his strongest work to date with 5 tracks of quality floor and headphone directed material that perfectly balances the need for playful melody and harmony with tough grooves and synthetic ambience. Drafted in on remix duty is Secretsundaze fave D.K. (Antinote records) who takes EP heater 'Fuego', dialling down the breakbeats for a smoother trip.

ProForm Series hits you hard with another debut artist on label. This time it is musically very versatile record from Happopumppu exploring different sides of acid house, acid, techno and possibilities of 303 in these genres. A-side starts with a huge acid banger called 'This Is Da Acid' repeating this mantra all over the track where as 303 delivers some treats from the silver box. Next one is deep acid house track called 'Superfluous' which might as well be coming out from Detroit in the late 80s. On B-side there is something more distorted going on when rough floor burner 'Pain' will rip you apart! After this mayhem it's time to relax with some laidback and mellow acid perfectly named as 'Heat Of The 80s'. Once again limited and numbered edition of 200, after that it's gone, no represses, no digital, so you know what to do!

Another fine slab of that Disco goodness from the mighty Kojak stable. Toronto party machines & re-edit maestros The Patchouli Brothers step up to the plate this time with 2 monstrous sides of peak-time Disco heat.
'BDSM / Gert A Chance' will not leave your bag, these cuts are primed, ready and able to lift the roof off of your discotheque, road-tested by the bros and deemed suitable the gods at Kojak Giant Sounds & Disco Promotions. Say no more. Essential wax for the discerning mirror ball fiend right here. Limited, as always. Do it!

2x12"

Dutch Techno master Orlando Voorn has opened up his archive for the first of what will be an ongoing artist focused series brought to you by new imprint Above Board Projects.The compilation will be spread across 2 double 12" volumes and will feature tracks from many of Voorn's pseudonyms including; Fix, Baruka, The Ghetto Brothers, Mute & many more. We are proud to introduce the first of a 2-part archival collection entitled 'Diligence'. Each track featured on the compilation has been carefully selected and programmed in conjunction with Orlando Voorn and the Above Board Projects team. Voorn has an extremely long and storied career in making music and is severely underrated as a producer in our humble opinion. His DJ skills are, of course, legendary, with him winning the prestigious DMC mixing championships in 1986 in his native Holland and making a career as one of the country's leading Hip-Hop DJ's. As a producer he has long been linked to numerous legendary producers and releases, counting labels such as Fragile, Metroplex and more as homes for his output. His association and collaborations with Detroit have been the stuff of legend since day one and some of the music contained within these compilations celebrate that while showcasing some of the more overlooked tracks from the man's more than extensive catalogue. Part 1 includes some serious rarities and some straight up, futurist Techno heat, take the majestic technoid melodies of comp opener 'Diligent' from one of Voorn's most well loved alias' FIX for example, completely worlds apart from the jacking and sparse Funk of Baruka's killer 'Technision'. Flawless selections from the early 90's sitting alongside later productions only go to show how diverse and talented an artist Voorn is and how fresh and vital his music still is today. An essential collection for any serious techno lover.

Apparel Tronic comes back after the heat of summer introducing the first V/A on the catalogue as well as its 10th release overall (Varioustronic 1). This 3 tracks V/A is an ambitious project that unites 3 great artists with diverse approaches to music production, 3 different minds and visions, 3 declination of the same verb brought together under the same roof, our roof. We always like to experiment, to try and push our boundaries over again in everything we do and surely this is an organic evolution to the so-called "Bliss-Beat": the identificative concept behind our ideas. The 3 producers we chose, Anton Kubikov, Artizhan & Tommy Vicari Jr. need no introduction so we're simply grateful to them for their availability to huddle up and create some great music for one cause and it's surprising how the three tracks, colliding, offer different but likeminded perspectives, like fragmenting planets creating new ones. This release is the result of 2 years of research, ending up choosing Anton's "Freak Out Little Bit", Artizhan's "Birthday" and Tommy's "Conceal" amongst many others. APLTRONIC010 V/A is clear for the take-off, on vinyl and digital versions, and we hope you'll like it!

Matasuna Records is thrilled to reissue another musical jewel from Peru on vinyl for the first time. The songs were recorded by the band Bossa 70 and released on a 7inch EP and the self-titled album in 1970. Both are much sought-after collector's items and impossible to find. The songs were transferred from the original master tapes and got a new mastering.

Nilo Espinoza Vascones or better known under his artist name Nilo Espinosa is without doubt a Peruvian saxophone and flute legend. After a classical musical education he entered the music scene in the early 1960s. In 1966 he founded the band Los Hilton's with some of the best Peruvian musicians including the gifted piano player Otto de Rojas. In 1967 they recorded the first and only LP of the group, which was released in a small edition in Peru.

Their concerts were more and more influenced by Jazz and Bossa Nova, so in 1968 they changed the band's name to Bossa 70. In the record label's office Nilo met the Afro-Peruvian Carmen Rosa Basurco, who also loved Bossa Nova and could sing in Portuguese and English. From then on she was the main singer of the band.

Bossa 70 recorded four songs for a 7-inch EP in an edition of only 100 copies, which was given away for promotional purposes at concerts and to friends & family. In 1970 they recorded their self-titled LP which reflected a mixture of Bossa Nova, Latin Jazz and Funk. The label pressed only 300 copies, which were sold out very quickly. This LP was the band's only album and is a rare piece of Peruvian music history.

Si Voce Pensa on the A-side is a great cover version of the same named song by famous Brazilian musician Roberto Carlos from 1968. Bossa 70 adapted the song for the dancefloor, which is driven by an uplifting rhythm and the expressive voice of the singer. Of course, the great interplay of the other musicians must not go unmentioned. A fantastic track that will heat up everywhere!

Birimbao on the flipside is another fantastic Brazilian cover version. The song was written in the 1960s by Baden Powell, one of the most important Brazilian guitarists and one of the pioneers of Bossa Nova. Bossa 70 set their own stamp with a new instrumentation with brass, wah wah guitars, piano, flute parts and trumpet solos. The percussion section is also a brilliant backup for this one. Another winner!

Wanubalé - nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin.
Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into Dub, Bass Music and Broken Beats. And several members are DJs, as well. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their Jazz skills. Songwriting is a collaborative affaire, everything is developed organically.
Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing.
Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.

RMXD Versions of TB’s 2018 release “Night Heat”. With contributions from Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo it’s all in the game; tropic machine rhythms, dist Chicago grooves, pinball lazerfunk and a touch of newromance techno.

Producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB from Munich, Germany, had a first track released, on John Talabot's vinyl-only Hiverned 10" imprint, called "Invitation To Love", which was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak. In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness.

Secretsundaze welcomes Eliphino to the gala relaunch of their imprint for a thoroughly satisfying mini album of contemplative jacking and dulcet breakbeats.

Eliphino's most recent 'Realistic Sex EP' on the hotly tipped Meda Fury label boasts thunderous breaks, 303s and serious sub-bass pressure which has gained praise from tastemakers such as Jon K, Carista, Josey Rebelle, Moxie and Gilles Peterson.Having flexed with this darker edged EP after a long lay-off from releasing, while sharpening his skills and reconnecting with his musical inspiration, Eliphino is now ready to really cut loose with 'Breaking Up Is Hard' - a statement longplayer that dreamily investigates the dusty spaces between house, breakbeat, ambient, hardcore and acid. Tom This album came about as way of focussing my energy in the wake of a significant break up. I tried to experiment with melody and texture to convey some of the range of emotions that come with such a testing time. That being said, the B-side bangers are more dedicated to abandon and forgetting your worries.

Hailing originally from the Leeds, but with time spent in both London and Berlin, 'Breaking Up Is Hard' lands somewhere between the Hessle Audio crew, Joy O and Selected Ambient Works era Aphex.

Having previously released heaters for Brownswood and Hoya Hoya over the years, Eliphino stepping up for the debut artist LP on the reactivated Secretsundaze label feels like a natural fit as James Priestley explains:

""We've collectively had a connection and friendship with Tom that goes back several years and in fact it was receiving this work as demos that really spurred and inspired us into getting the label rolling again. It feels totally right to be working with him on this and for this mini-LP to herald the relaunch of the label as it moves towards a more artist led as opposed to EP driven approach.

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

Welcome to our 2nd EP of Original tracks from 12tree's new label, Hot Piroski. The label is a boisterous mix of Space Disco, Deep Funk edits and Balearic Beats. The Previous EPs saw support from Radio 1 Essential Mix, Pete Herbert, Ursula 1000, Phil Mison, Justin Rushmore, Dan McKie, DNS beats, Primavera sound and more ...

A side: 'In the Sun' - featuring soulful vocals from Katty Heath over a Deep disco re-edit that morphs into a deep house-tinged groover.
On the flip: 'Magic Dust' - poolside blissed out beats on a vapour wave tip. 'Guitar Solaar' - soul-tinged groover with a wiff of Marvin Gaye.
All tracks Produced and recorded by 12Tree at his studio in Barcelona.

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

Curve Records returns for their second outing with a powerful, grooved-out, broken beat EP: ‘Planned Cities’ from Bristol’s veteran forward thinking producer Lrusse.

“I like the optimism behind planned cities because they often don't turn out as expected - humans are random and there are unintended consequences everywhere. I never set out to write a broken beat EP, so that's quite been kind of a surprise too, ha.” Fellow Bristol legend Lord Leopard (F.K.A. Lukas) remixes the A1, ‘Crep Check’, delivering a club tool that will heat to any dancefloor.

A1: Crep Check - Crunchy, half-step drums broken beat hot with searing pads and bone-rattling sub.

A2: Crep Check (Lord Leopard Remix) - A huge straight up 4/4 club tool, tried and tested on the dancefloor.

B1: Scaff - An instant classic with a distinct Bristol bass bin sound, lazy broken drums and chopped piano hook.

B2: Those Letters - A soaring broken beat journey, perfect for switching up a 5am techno set.

Lrusse is the solo project of Ed Bayling, also known for slow-mo dancefloor heaters as one-half of Bristol’s Behling and Simpson, and has found regular support from the likes of Midland and Danny Krivit to Claude von Stroke and Todd Edwards, with tracks released on iconic labels such as K7, Tsuba and Dirt Crew, as well as underground fixtures like Nite Owl Diner and Apple Pips.

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

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

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

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

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

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

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

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


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

In 1989, Steve Kirby and Kevin Finch recorded the 4AM project which they pressed privately on vinyl, limited to 300 copies which sold out quickly to friends and family in the UK upon the albums release. The balearic master piece is a wild and funky 40 minute travel through home made, british synth-pop, electro-jazz, spacey computer funk and proto house cuts with AOR-y vocals put together in the Susurreal studio by Steve Kirby and Kevin Finch in 1989.

Soul Deep Exclusives is proud to present our latest vinyl release! This time we've recruited 4 talented producers that have created 2 tracks of musical bliss. Greek producer, mSdoS, has gone to the other side of the world to collaborate with Subsid, a Brazilian Producer, to craft up the song entitled, "Malibu". The song oozes with uplifting musicality and summer vibes, heating things up for the warmer time of the year. British producers, Payback & Conspire, team up to produce the second offering. The track offers up a more edgy sound, but is softened up by its epic pads and dreamy soundscapes. Overall, these 4 producers have created some classic music that will stand the test of time. Classy vibes!

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

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

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

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

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

Kromestar vs. Ironsoul Pt. II. Heated dubstep and grime bangers from one of the pioneers of both dubstep and grime

‘One of our favourites’ iD Magazine

‘Mesmerizing’ The Guardian

‘Keep an eye on this guy!’ - Gilles Peterson


Catching Flies’ music draws from a wide-ranging palette of influences including jazz, soul, hip-hop, house and electronica and has previously seen him handpicked by Bonobo to provide support on his World Tour. Over the past few years, his music has gathered the support of Gilles Peterson, Annie Mac, Lauren Laverne, Julie Adenuga & Huw Stephens, critical acclaim from the likes of iD Magazine, The Guardian, Dazed & Confused, and Nowness, and a growing fanbase which has seen him perform both Live and DJ sets across the UK, Europe, the USA and Asia. This has culminated in over 60,000,000 streams to date.

Catching Flies is set to release debut album ‘Silver Linings’ on 5th July 2019. Containing shades of house and jazz, to hip-hop and electronica, ‘Silver Linings’ is a melodic mesh of bright electronics and intricate rhythms. It’s a beautiful, moving record, with sounds that unmistakably come straight from the heart.

Producer, multi-instrumentalist and DJ George King began Catching Flies in late 2012, when he recorded and self released his first two EPs. With huge radio and press support around the world - including multiple #1’s on Hype Machine, BBC Radio support from Gilles Peterson, Mary Anne Hobbs, Lauren Laverne, Tom Ravenscroft, Nemone, Annie Mac, Huw Stephens; praise from i-D, Dazed, The Guardian, Complex, Notion, The Line Of Best Fit, Clash, Dummy and more - he’s since attracted millions of listeners.

Against his instincts he signed with a big management agency and got talking to a label: it almost derailed his career. He explains “What I'd found so inspiring originally was the total freedom to make a tune on my own terms and just decide to put it out the next week. There was a hunger that came with that, and a sense of achievement from being the driving force, but as soon as I tampered with that ecosystem, it wasn't as exciting anymore”.

Touring with electronic music giant Bonobo - who also included him on his BBC Radio 1 Essential Mix - allowed him to watch up close someone who had taken a slow and steady path from tiny clubs in Brighton to arenas worldwide, and see it was possible to do without any compromise. After being teased through a succession of warmly received singles this past year, and seven years on from that first EP recorded and released from his bedroom, his debut album ‘Silver Linings’ is now ready to be revealed.

“It's taken me a while because I didn't want to speak until I had something to say. I wanted to make something positive, hopeful and colourful...The world isn't in the best place at the moment, and the last thing it needs is another dark and moody electronic record. I wanted ‘Silver Linings’ to be a scrapbook of the last three years. It’s definitely eclectic, and it’s supposed to be. Over three years a lot changes, your perspectives change, your tastes change; and I wanted to celebrate that by picking tracks that meant the most to me. One of my favourite things about making music is that it takes me right back to where I made it - the keyboard I used, the chair I was sitting on, the room I was in. It kind of teleports you back to a certain point in your life. A bit like a diary entry.”

Recalling those moments brings back a range of memories: ‘Satisfied’ began by being tapped out on a £15 keyboard bought from Kentish Town Cash Converters, ‘Yǔ’ was made in the mountains of China during a few days off from touring, while an evening on Hampstead Heath inspired ‘Kite Hill Theme’. Also featuring on the album is ‘New Gods,’ a collaboration with London’s bright stars Jay Prince and Oscar Jerome and the beautiful and meditative ‘Opals,’ inspired by the likes of Ryuichi Sakamoto and Alva Noto.

Catching Flies is already looking to the future, closing the first chapter in an exciting and inspiring story, ‘Silver Linings’ is only the beginning.

“A few weeks after I finished the album, I moved out of my house I made all the music in, so it feels like the closing of one chapter and the beginning of another. I can’t wait to make the next one now.”

The must have DJ tool is back for a third chapter

Label boss Pete OntheCorner has dipped into his secret stash of firelighters from around the globe.

On the Corner’s backroom and basement workout ‘Versus’ is brimming with heat and is once again the essential tool for discerning DJs.

The very latest productions, new signees, dubs and remixes bring a future taste of the action On the Corner. This uncompromising and unrivalled collection brings the label’s global family together on wax.

Versus III features tracks from Dengue Dengue Dengue, Khalab, Penya, Planet Battagon, Blood, Wine or Honey, James Stewart and the uncompromising street sounds of Mnanda from Dar es Salaam. Flexing their remix might for this 12”: Nicola Cruz, Mahgreban, Hieroglyphic Being and Sarathy Korwar goin’ in live.

There are some familiar faces occupying this tasty wax and some new comers.
Get your atlases out again as OtC criss-crosses the globe introducing you to artists from afar-afield as Dar es Saalam, Chicago, Hong Kong, Lyon, South London, Peru and Rome.

Over the last few years, K15 has been visiting Simbad's studio, where they delved deep in conversation, as well as into an arsenal of analog gear. The result? A revered collection of raw grooves...but what to do with all this heat? Enter Apron boss and mutual friend Steven Julien, who was compelled to share some of these works.
Welcome to Earth State

Durban gqom ambassador DJ Lag and London-based Okzharp combine over four club heavy tracks rooted in their long-term long-distance connection, the EP’s title originating from the Durban nickname for the local clubs where much early gqom-style music was played. Opener ‘Now What’ layers a wooden percussion scraper with a ticking cow bell and chants. Set at a slightly faster pace than most gqom, the track harbours a dark energy at its core generated by a low rumbling background synth and pitch shifting claps.

‘Steam One’ - inspired by DJ Lag’s set at Hyperdub’s club night Ø after he brought the heavy steam room vibe - has a slow and entrancing build up with a subtle melody layering on stabbing syncopated kicks, leading up to awoozy synth breakdown. “We were inspired by that moment in the club when things get hazy and bendy and glowy. It has South Durban via South London DNA, so inevitably there's a heavy kwai-gqom vibe with a grimey funky London twist running through it”. ‘Nyusa’ opens with a grinding acidicbass line overlaid with a metallic and gravelly melody with suppressed chants.

Sharp kicks drive the track leading up to a wobbly synth breakdown and back up synth stabs raising the energy. Finally, ‘Sambe’ pairs menacingstrings with a steel drum melody, displaying characteristics of both funky house and gqom in a subtle meeting of the two styles. ‘Steam Rooms’ is a collection of dancefloor heaters set to make the club sweat, the amalgamation of a London / Durban link up reflecting both producers environments and sound palettes for icey cold gqom tracks with funky house shadings.

Hyperdub launch new sub-label Flatlines for the release of ‘On Vanishing Land’, an audio-essay by Justin Barton and the late Mark Fisher. ‘On Vanishing Land’ evokes a walk along the Suffolk coastline in 2006, from Felixstowe container port ("a nerve ganglion of capitalism") to the Anglo-Saxon burial ground at Sutton Hoo. A walk under immense skies, through zones of deep time, and within sunlit, liminal terrains, into the eerie. Everywhere there are charged atmospheres, shadowy incursions, enigmatic departures. A derelict radar base, coastal heathland, drifting thistledown, towers of overgrown shipping containers - music haunted by wider levels of reality, narrations about rarely visited zones and potentials, voices of dreams and stories. This music includes newly-composed tracks by John Foxx, Gazelle Twin, Baron Mordant, Raime, Pete Wiseman, Farmers of Vega, Skjolbrot, Eerie Anglia, Ekoplekz and Dolly Dolly. Alongside these are glimpsed views toward M.R.James’s ‘Oh Whistle and I’ll Come to You My Lad’ (1904), Joan Lindsay’s ‘Picnic at Hanging Rock’ (1967), and Brian Eno’s ‘On Land’ (1982). Beyond the surface of the day something becomes visible, a way forward, an escape-path from capitalist reality. ‘On Vanishing Land’ is about following the lines of terrains and dreams. It is about a micropolitics of escape, of disappearance. A micropolitics of waking the faculties. ‘On Vanishing Land’ was initially part of an exhibition commissioned by The Otolith Collective and The Showroom in London, and after ‘londonunderlondon’ (2005) it was the second audio-work collaboration by Justin Barton and Mark Fisher.

The LP cover features photos taken by Mark Fisher, and a short essay by Justin Barton. Pressed on 180g vinyl, in deluxe rigid board sleeve, with free mp3 download code.

Meanwhile in the Blast Office, Party Nails have been cooking straight bangers for bent dancefloors.

Four more heaters to test your meters.
Following an inclusion for PN001 in DJ Boring's Phonica top 10 for 2018 the duo gave up their day jobs to pursue their dream of full-time idiocy.

Please buy this record. The kids still need wine.

DON'T ASK WHY - JUST BANG THE NAILS

STAR CREATURE’s space funk bass hunk hero OURRA drops this stylish disco boogie groove featuring London’s ALENA on vocals. Originally slated for release in the Fall, but rush released due to demand. Peaktime summer dance floor heat in both vocal and instrumental versions.

More golden era heat from the nervous vaults! It keeps coming!
1994 is the year and Black Moon and the whole Boot Camp Clik are on a major roll.
'Buck Em Down' is as potent today as it was back then with Da Beatminerz bros flipping Donald with a little 'Hihache' in the mix.
Oh? You love that gritty SP1200, filtered out, buddah smoke filled basement sound? Well, this is for you. All-time classic stuff right here, easily.
Here on dinked 45 for the first time ever you get the dirty instrumental versions of this sublime mid-90's banger.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

More golden era heat from the nervous vaults! It keeps coming!
Another stripped back, rough & raw banger from the vintage mid-90's output of Brooklyn's Black Moon crew, a legendary group.
'Powaful Impak' . still sounds super heavy today, a swirling mixture of dancehall vox, Busta samples and ultra raw and banging SP1200 loops courtesy of the mighty Evil Dee & Mr. Walt aka Da Beatminerz. Nobody comes close to the ferocity of this, super hard, street level hip-hop that encapsulates NYC beautifully, ultra gritty! Throw on your timbs, Carhartt jeans and jump the turnstyle to this right here. Essential vintage rap, instrumental included. Cop that.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

Onward and upwards - the Belgian dubstep imprint Overdue maintains its super-heated release schedule with full force. With a meticulously curated artist roster and continued support by the likes of Mixmag and other vital institutions, this release yet again perfectly aligns with their vision of subculture sound system music. Spearheaded by a positively prolific artist, their fourth record features Teffa on the controls. Following up on some massive 12" releases on crucial labels such as White Peach Records and Foundation Audio, the up and coming artist furthers his status as a versatile and highly capable producer with three tracks of unadulterated sound system pressure - including a weighty collaboration with Chad Dubz.

Arming the record, "Shell It" heads straight into the matter at hand, precision engineered weaponry clocking in at 140 BPM. Drums like mountains, effortlessly heaving immense amounts of low-end, smoothly embedded on silky pad swells. Fusing old-school elements with the present like few others, the lively arrangement does the rest to keep the crowd aflame without end. Music with an attitude - rewinds assured.

Fasten your seatbelts as the record kicks into overdrive once again with "Sludge" as faint police sirens and reverberate into oblivion only for it to implode into an instant dubstep classic. Driven by its ridiculously effective and minimal instrumentation, the underground unravels itself in sonic form. Spacious pressure wave emissions, especially primed for the dance.

Stepping up to the title track, "Illegal" tops off the 12" most beautifully - packed with Grime and Breaks influences and mesmeric melodies. As unshackled 808's pound away alongside a murderous set of percussions, the electronic soundscape treads through hypnotic harmonies and dance-inducing groove - Teffa signature style at it's finest.

Enzo Elia – one who knows how to conceive Italo driven audible passion with the machines that surround him. His releases on cult labels Compost, Free Range and Black Pearls Records have long spoken to us here at KOMPAKT.

We welcome this summer heater which is “Gilli 88 EP”. A tribute to the 80s phenomenon…THE PANINARO. Without any ideological basis or connection to a particular lifestyle THE PANINARO was based around fashion imagery and luxurious clothing. Enzo found this translatable to today’s social network dynamics and is prime for the retrofuturistic dancefloors of today that are inspired by the golden days of Italo-Disco.

“Low Red” is a Italo-Pop gem conceived with Quique Aldebaran and Quique on vocals that takes inspiration from the legends that were – the mighty Suicide. An instrumental version dives deeper into the groove for DJ play persuasion. “Aj Squinza” takes a classic 80’s disco approach with sound-scaping synths that endlessly jam with an everchanging rhythm. “Volpinata” succumbs to a classic EBM groove that finds its way out of focus due to fat synth melodies that engorge this elevating track.

Following the reissue of ZiadRahbani's "Abu Ali" album, Wewantsounds is pursue its exploration of great Lebanese music with the reissue of "Wahdon," released in 1978 by legendary Middle Eastern diva Fairuz and recorded during the Abu Ali sessions and including the Lebanese dancefloor cult classic “Al Bostah“. 1978 is a turning point for the Lebanese Diva. The 70s had seen her rise as an international star, playing sold out concerts in the US and in Europe, and appearing on national TV in France. She had had a long-lasting artistic collaboration with her husband AssiRahbani and his brother Elias (aka The Rahbani Brothers) who, together, had penned most of the singer's classics. In 1978, Assi who had suffered a brain haemorrhage in 1972 got weaker and the collaboration finally ended (together with their personal relationship). Their 22 year old son Ziad took over Fairuz's musical reins and set to work on their first album together, "Wahdon" ("Alone"), serving as her mother's producer, composer and musicaldirector. Wahdon typifies this key moment in Fairuz's career when she switched from traditional to more modern arrangements. The first side of the album encapsulates the more traditional side of the singer with such mesmerising songs as "Habaitak Ta Neseet Al Naoum" ("I loved you so much i forgot to sleep") or "Ana Indi Haneen" ("I'm Nostalgic"), filled with gorgeous arabic strings and percussion. The Second side though is a whole different affair. Recorded in Athens at the EMI Greece studio at the same time as the Abu Ali sessions, the two long tracksbrings a hipper, contemporary funk and disco feel that has made the album such a collector's item with DJs and diggers around the world. Clocking at almost nine minutes "Al Bostah" ("The Bus") tells the story a woman in love remembering a bus journey with her lover under a scorching heat, enhanced by an hypnotic uptempofunkified disco beat, while "Wahdon" brings a slower and jazzier underlay to Fairuz's superb singing. These tracks shocked some of the diva's fans at the time but they've since passed the test of time and have become highly sought after. Whadon has since become both aclassic Fairuz album and a cult ZiadRahbani production that Wewantsounds isdelighted to bring to a wider audience for the first time.

Numbers 28, 29 & 30 in the Jazzman Holy Grail Series.

Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums on Fable by Austin bands 47 Times its Own Weight, Steam Heat and Starcrost. With only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all 3 have gone on to become highly sought after by collectors and DJs around the world.

We meet with Michael at our UK offices and over several hours he tells us the highs and lows of running Fable Records, leaving no stone unturned and with success and tragedy in equal measure. We also speak with members of all 3 bands, and they share with us interesting stories and cool anecdotes of the wild times in the mid '70s when their records were made. We acquire informative press cuttings and some awesome posters & flyers, and all of this we publish in a booklet included with each LP which are housed in a US-style tip-on sleeve. Jazzman Records - We Dig Deeper.

Formerly of Chroma, with releases on RAM, Renegade Hardware, Commercial Suicide, CIA and more, Tyrone is now out to make a statement as a solo act.