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The Remixes

A stellar duo of techno talent remix Adam Beyer & DJ Rush’s ‘Restore My Soul’.
The original work, released in June 2021, was a highlight on Drumcode and saw Adam Beyer link with the legendary DJ Rush for an inspiring four track EP. Almost a year on and the label has drafted in a triumvirate of top-shelf techno talent to remix the cuts.

ANNA makes her first outing on DC since 2019’s ‘Galactic Highways’ and delivers a searing rework of ‘Control’ that mixes up her patented brand of stadium sized sonics with a fierce acid stomp throughout the second half of the track. HI-LO follows up his debut EP ‘Hypnos’ with a heavy dose of low-end funk as he reworks the title track retaining the original’s hypnotic bassline and building upon it to craft a beefed-up weapon.

The treasure chest that just keeps on giving. Another refreshing, reissued dose of solid gold UKG heaters from one of the finest garage acts of the ‘90s, 24hr Experience. Highlighted here, the first EP under the 24hr Experience name from Grant Nelson and Simon Firmin back in 1994 - Dub Essentials Part 1.

Samples galore, grooves upon grooves and that sweet swing to keep the bodies moving. Five iconic cuts from skippy vocal bumpers to percussive workouts and bass heavy whompers, this ain’t one to miss.

By the close of the Sixties, record retailer and jukebox businessman Karl ‘J.J.’ Johnson was firmly established as one of Jamaica’s leading record producers, having released a string of best-selling rock steady and proto-reggae 45s by such noted local acts as Lee ‘Scratch’ Perry, the Rulers, Carl Dawkins, the Kingstonians and the Ethiopians. Early in 1969, Trojan Records released an album containing a dozen of Johnson’s latest recordings in the new reggae style. Entitled Reggae Power, the LP was dominated by regular hit-makers the Ethiopians.

Reggae Power is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Dynamite Cuts is proud to be able to press, for the first time on 7” vinyl; the superb, original, Brit-Funk cut, taken from the rare and highly collectable 1977 self-entitled album FBI. Our A side, “Keep on Running”, is an uplifting vocal groove written by Mr. Stevie Wonder, delivered by F.B.I. Awesome: a heavy so groove, driving vocals, and a funky clav groove makes this a perfect vibe and an essential track.
On the flip is our part two version, a breakdown from the original master tape, giving a moving and up-tempo feel; a supreme funky instrumental cut, edited. Heavy groove, including a massive DJ drum break.

Rich Aucoin is announcing his next album entitled Synthetic - The record is a rare Quadruple Album with its 4 seasons/LPs being staggered in 6 month intervals over the next 2 years

The album, which began at The National Music Centre in Calgary, Alberta in March 2020, houses one of the world's most extensive collections of rare and historic synthesizers. There, Aucoin was doing the Artist In Residence program and recorded 51 synthesizers to begin the project. The project was paused with the start of the pandemic and Aucoin shifted back into film scoring and worked
on the critically- acclaimed and short- listed New Yorker - Films of the Year documentary, No Ordinary Man, about the trans- masculine jazz musician Billy Tipton.This record is a good demonstration of Aucoin's scoring potential as well as it's a quadruple instrumental album; a huge contrast to United States, Aucoin's previous, and most vocal heavy album to date. Lyrics just take me so long to write that I just want to take a couple years to make other kinds of albums before going back to lyrical music as I can write instrumental music much faster. This first fulllength features Aucoin as the solo musician playing some 37 synthesizers including: Arp 2600s, the Supertramp owned Elka Rhapsody 610 String Machine, Formanta Polivoks, Novatron T550, Oxford Synthesizer Company Oscar, Selmer Clavioline CM 8 and the legendary TONTO which the first release off the record
was made on.

Tracks: Tonto / Hypernormalization / Algorithm / Future / Buchla / Esc / 456 /
Space Western / Return

Endlec starts his label "Renegade Methodz" with one of his most powerful & personal EPs.

"Year Of The Kill" is a product of its time, having been written and produced during one of the most challenging and unique periods of the modern age, between March and April of the "lethal" 2020.
When the world was in a state of full lockdown, a moment in history that we, as a generation, forever will remember.

It's a pessimistic piece of work, that, across it's 3 trax, features, dark & melancholic melodies, sitting on top of heavy beatz, with Endlec's signature, dirty texture, and his unique brutal kinetics raising the energy, forcing you to take notice and dance until u release WHATEVER THE FUCK bothers u!
Scream from anger, scream from joy.
Cry from happiness, cry from sadness.
Raise your hands in the air and just let your self go.
Listen to the music, in whatever corner of the world u are, alone, with friends, with your lover or with whoever TF u care about and just feeeel.
BE IN the moment.
And dance, dance, DANCE U MTF!

So, at the end "Year Of The Kill" is a very personal work of art,
It is what it is, and if u like it that's great, if u don't, then fuck off
and try figure what's wrong with your ears!!

WE are who WE are, WE do whatever the fuck WE want,
WE ARE RENEGADES!
AND THOSE ARE OUR METHODZ.
credits

Age Eternal is the solo project of producer and visual artist Lissa Benno. She uses guitars, electronic hardware and her voice to create an hypnotic and heavy haze.

Familiar pop structures collide with organic apparitions of experimental electronic sounds. Layers of choral vocals and synthesizers move as ethereal mass through textures of heavy bass and percussive rhythms.

„Be The Enemy“ delivers an introspective view on transpersonal experiences and supra-naturalistic phenomena.

Despite the title sounding like an archive collection, 1994 is actually the debut album from OKRAA. It has an emphasis on live performance and makes for a gorgeously immersive and even evolving listen from the aways excellent A Strangely Isolated Place label. All four pieces are over with minutes but they are worthy of their playing time for the way so much unfolds in such engaging fashion. Synths are cold and innocent on 'Ola De Luz' while 'Heartless' is more textural, dark, heavy in its mood. The title track is another heavy and introspective one while 'Plasma' has a more optimistic feel that lifts the spirts.

Soma proudly presents Functional Designs, the latest collection of nocturnal environments from Deepchord, marking his first full length album release on Soma in 5 years. The enigmatic Detroit based producer once again transports us into his sonic realm via night-walks through numerous cities before being transmuted into aural excellence through field recordings, holographic synth tones, cosmic sounds and the hiss of electric wires. All swimming around in filtered 4/4 beats and subterranean basslines. The album is a perfect example of electroacoustic techno transmitted from undisclosed locations, the amalgamation of swirling tapestries of sound, deeper than night and lifeforms moving around underneath the grid.

The album glistens into existence with the beatless Amber breathing life into the project before the eventide of Darkness Falls offers a beautifully subtle and contemplative atmosphere. The guiding light of Transit Systems continues to offer up melancholy with echoing percussion and drifting soundscapes. The highly processed acoustics of Strangers brings a sense of intrigue to the album's journey as Modell works in the most percussive track so far. Panacast is exotic dub techno at it's finest, with warping and perfectly crafted synth work building gently over the top of sub heavy beats, glued perfectly together by the hiss of the collected found-sounds. In a slight rise in tempo, Cloudsat, makes a journey skyward, collecting mood and feelings from high altitude with its emotive synth work. The reverberating halls of Pressure again work as a testament to Modell's sonic crafting - honing in on specific artefacts from his field recordings, imbuing them with deeper purpose. The perfectly titled Ebb and Flow drifts effortlessly on a tide of evolving, blissful sound waves crashing to shore as each one overlaps the other. Beginning the descent into the final part of the album, you begin your ride across a cosmic plain, lit by the glistening and ethereal Sun. The meditative Memories opens a conduit to other realms as the album closes out with the elysian melodies of Drassanes.

Deepchord once again proves he is a producer like no other. A true sonic sculptor who uses his real world experience to create vast, unparalleled soundscapes that captivate and enthral the listener.

Superb third full-length album of veteran Swedish producer Ola Obergman. A heavy collection of 808 based electro-techno fusion tracks in classic Pariter style. Massive!!

2022 Repress
Dear Friends,

25 years of KOMPAKT is no reason to get hysterical. Then again, it's a nice occasion to have a laid back look at the situation in electronic music today. Minimal techno in all it's varieties is now established as the worlds best dance music, as you may know. So far, so good. What's next Nothing. Dance on!

I've gain two essential insights with the passage of time. First off, that music which over the years only knew 'faster, better, stronger' and 'forwards ever - backwards never' can constantly repeat, quote and loop itself without killing itself. A music that suspends the meaning of time and eventually can set a parallel, better universe of fantasy against the twisted grimaces of reality. Again and again.

And secondly, that getting older living in/with this music is a quite relative term to which ideally a serenity of age can ring a bell. This shows that 25 years after 1993 so many protagonists, enthusiasts, DJs, musicians, relentlessly rave fighters - with all personal advancement - are still there and still celebrate, play or produce this/theirs music; and compete themselves and their music just with that.

Two such heroes of the neat and tidy bass drum culture are with no doubt T.RAUMSCHMIERE aka MARCO HAAS and REINHARD VOIGT. From day one, those two figureheads have given live-techno the glam of stage-diving rock 'n' roll, long before vodka and beer prevailed as alternative lube for ecstatic dancefloors.

Even better they both now raise the glass at the longest techno-bar in the world named KOMPAKT EXTRA/SPEICHER. With DREI MILLIONEN KO¨LSCH, Reinhard Voigt continues to establish his savvy 'way into sound', which he's pursued for a few years now on his many releases. He's turning genre cliche´s into a very personal take with his defiant mix of the deepness of a lonesome cowboy and his implicit faith in the dancefloor and gives the music a very personal touch of ennnoblement of the faith in itself. Technos dignity shall be inviolable.

For me, AUGEN ZU by T.RAUMSCHMIERE is one of the most beautiful masterpieces of bass-heavy 'Umta Umta' techno. A few strikingly brilliant vocal lines from the master himself, put through the machines and combined with a relentlessly sequencer that says it all. This cheers my heart and we will always need such tracks to remind us of ourselves. And to forget about ourselves. Smash hits of unreason! Or the prettiest declaration of love to a music which gets its magical moments from what's happening between the bass drum-beats. But only by this when the bassdrum remains linear and will do so forever. Both Marco Haas and Reinhard Voigt know that. Because after techno comes always techno.

Wolfgang Voigt - May, 2018 Wolfgang Voigt - May, 2018

25 Jahre KOMPAKT sind kein Grund sich aufzuregen. Aber dennoch ein schöner Anlass, einen gelassenen Blick auf die Lage der elektronischen Musik zu werfen. Denn der globale Minimal-Techno, in seinen unterschiedlichen Spielarten, hat sich bekanntlich längst als beste Tanzmusik der Welt etabliert. Recht so. Was nun Gar nichts. Weitertanzen.

Zwei essentielle Erkenntnisse haben sich bei mir im Laufe der Zeit durchgesetzt: Erstens - dass eine Musik, die über Jahre nur ein »Höher, Schneller, Weiter« oder ein »Forwards Ever - Backwards Never« kannte, sich ständig wiederholen, selbst zitieren und loopen kann, ohne daran zu ersticken. Die Bedeutung von Zeit und Vergänglichkeit im besten Sinne außer Kraft setzen und der hässlichen Fratze der Realität eine parallele, bessere Welt der Fantasie entgegensetzen kann. Immer wieder.

Und zweitens: dass »Altern in/mit dieser Musik« ein sehr relativer Begriff ist, dem bestenfalls Altersgelassenheit etwas sagt, Alter. Das zeigt sich immer wieder im schönsten Sinne, wenn 25 Jahre nach 1993 so viele Akteure, Enthusiasten, DJs, Musikanten, unkaputtbare Kampfraver, bei aller persönlichen Weiterentwicklung, immer noch da sind und immer noch diese/ihre Musik abfeiern, auflegen oder eben produzieren und sich und ihr Tun auch nur daran messen lassen müssen.

Zwei solche Recken der gepflegten Bassdrumkultur sind zweifelsohne T.RAUMSCHMIERE aka MARCO HAAS und REINHARD VOIGT. Zwei Rampensäue der ersten Stunde, die Live-Techno den Glam des Rock'n'Roll Stagedivings gegeben haben, lange bevor Vodka und Bier sich als alternative Gleitmittel eines ektatischen Dancefloors in der Breite durchgesetzt hatten.

Umso schöner, dass sich eben diese Beiden mal wieder an der längsten Techno-Theke der Welt, genannt KOMPAKT EXTRA/SPEICHER über die beiden Seiten einer Schallplatte hinweg musikalisch zuprosten. Mit dem Track DREI MILLIONEN KÖLSCH setzt REINHARD VOIGT seinen smarten »way into sound« fort, den er schon seit ein paar Jahren auf diversen Veröffentlichungen konsequent verfolgt. Mit einer trotzigen Mischung aus lonesome cowboyhafter Deepness und dem unbedingten Bekenntnis zum Dancefloor schafft er es, den Klischees des Techno eine sehr persönliche Note der Veredelung des Glaubens an sich selbst zu geben. Die Würde des Techno ist unantastbar.

Der Track AUGEN ZU von T.RAUMSCHMIERE ist für mich eines der schönsten Meisterstücke in der Tradition des oktavbassgeschwängerten Umta-Umta Techno. Einige wenige markant brilliante Textzeilen, vom Meister selbst in deutscher Sprache durch die Maschinen geschickt, gepaart mit einem Sequenzer der keine Gefangenen macht, lassen keine Fragen offen. Da geht mir Herz und Rucksack auf. Solche Tracks werden wir immer brauchen, um uns an uns selbst zu erinnern. Um uns immer wieder selbst zu vergessen. Smash-Hits der Unvernunft! Oder die schönste Liebeserklärung an eine Musik, die ihre magischsten Momente immer aus dem gezogen hat, was zwischen den Bassdrumschlägen passiert. Das funktioniert aber nur, wenn die Bassdrum gerade ist und es für immer bleibt. Und Marco Haas und Reinhard Voigt wissen das. Denn nach Techno kommt immer noch Techno.

Wolfgang Voigt, Mai 2018

This is about remembering our humanity, which perhaps we lost a little bit over the last couple of years - maybe we can get a bit of it back in the dark, under some strobe lights." There's a considered and conscientious edge to every record that comes from the studio of Graeme Shepherd, a.k.a. Grum. Strip away the club exterior and you will find a nuanced, sometimes provocative, message that asks us to challenge our outlook on the world. 'Unreality', Grum's fourth studio album, is his most reflective work to date, putting human connection in the digital age under the microscope. "Based near Glasgow, Scotland where I had to spend a lot of time by myself. I watched, alone, as world events unfolded and I think that has funnelled itself into the music somewhat." The visceral nature of Graeme's work has been present since his debut LP 'Heartbeats'. A feel good, get up and dance record championed by Annie Mac and Pete Tong in the early 2010s, Grum was a product of the blog era, riding the heights of Hype Machine with his synth heavy sound.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years.

Dig in...

East Midlands house legend, Charles Webster, relocated to San Francisco in 1992, setting up Spirit Studios in the heart of the city and a highly productive period ensued. The 'White Powder' EP released in 1995, under Charles' Presence moniker is widely regarded as a classic of its genre, up there with any of its contemporaries on Prescription or Murk. All 4 tracks are flawless and groundbreaking in their ability to to draw together elements of soulful deep house, tribal percussion and the deep melodic tech-house sounds emerging from Europe and America's midwest into a unique whole.

EP opener 'Heart' features the haunting vocals of Sarah Jay, the track builds delicately, adding dark bass, before soaring strings lead into a melodic breakdown. $10's deftly programmed drums really deliver the funk, the deep melodic synth and pad progressions are mesmerising, whilst an unforgettable bass-line underpins the journey. Over on the flip 'Giving Love' intro's with gorgeous pad before shuffling percussion and an uplifting piano turn this track into a joyous ride. Lastly 'Powder Chords' sets the controls for heart of the dance floor, heavy kicks launch a much more techno influenced affair, it's dark and brooding but no less effective in its atmosphere and execution.

'White Powder' is all killer, no filler, a highly sought after slab of wax that has achieved cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Charles Webster, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

London’s SlothBoogie records welcomes Subjoi to its roster with his four-track ‘Reflections’ EP.

Hailing from Warsaw in Poland and now residing in Adelaide, Australia, Subjoi has been gaining steady traction in the House scene over the past five years, racking up releases on the likes of clipp.art, Shall Not Fade’s Lost Palms sub-label, Lobster Theremin sub-label Distant Hawaii and 13th Hour amongst others. Here we see him joining the roster of SlothBoogie Records with some more soul-infused and sun-drenched house cuts.

Up first on the EP is ‘At A Time’, seeing Subjoi lay down an amalgamation of disco string, brass and vocal samples atop a swinging drum groove, dynamically evolving with filter sweeps and a loopy feel throughout. ‘Gone’ follows next and employs more classic house tropes courtesy of a bouncy piano line, robust drums and hooky vocal chops.

Opening the B-side is ‘What You Do’, shifting things aesthetically to 2-step drums alongside airy stab sequences, bubbling synth melodies and processed R&B style vocal lines. ‘Sapporo Nights’ completes the EP next on a deeper tip, journeying through hazy string lines, warm bell chimes, heavy doses of sub bass and stripped-back, bumpy drums.

AVNU (UK) follows up his fantastic recent single on Ellum Audio with a long-awaited and hugely adventurous new album, ‘Tough To Love But Worth The Effort’.

AVNU (UK) is based on the East Coast of Scotland and has been deeply immersed in music for twenty plus years. He has a love of everything from rock, soul and blues to disco, electro, techno, trance and rave. All of that comes out in his innovative sounds, which range from sweat-inducing club tracks to hooky and feel-good grooves. This album finds him working his magic across 15 tracks that bring plenty of fresh perspective to house, electro, synth, techno and pop. They add up to a storytelling record filled with left turns and tracks that work in a range of different contexts.

'Surprise!' opens with a glossy electro beat and shimmering 80s synths that set the tone for the whole record. 'I Love You' brings a French touch influence with plenty of filtered synth loops and crisp drums under a soulful vocal, then 'Supaflake' cuts loose on an old-school funk vibe with nods to early Daft Punk. This most colourful of records plays out through the likes of sombre cosmic techno offering 'Bad Karma,' the longing chords and heavy-hearted electronica of 'Odyssey Jam' feat Mariel Ito and distorted bass of 'Phlegm In The Street' which comes with laser-like synths and menacing vocals.

The future styles continue on 'Yo E, Check This Out' which collides jungle breakbeats with brain-melting sine waves, while 'Wilkie' is a moment to catch your breath amongst bright and shiny synths and deeper drums that suspend you in a celestial sky. 'Proud You’re Mine' is a perfect electro-dance-pop gem that has potential to be a summer festival anthem and the title track closes down with six minutes of enchanting and mystical synth lines and hypnotic drums.

‘Tough To Love But Worth The Effort’ is a spectacularly broad and accomplished album that lives in a world of its own.

(Umwelt & Sonae Remix)

For the very rst time Blintmusik welcomes two artists to remix tracks from the label’s back catalogue. Keeping the tradition of two tracks per release - on the A side we meet the french grandmaster of Electro, Umwelt. His remix of ‘Chauncey Street‘ is a pure dark whirlwind with bitter-sweet synth-strings oating over a set of forward pushing drums
and a drilling bassline. On the ipside is Sonae, best known for her immersive albums on labels like Monika Enterprise.

Her Remix of ‘92 Avenue‘ opens the gates to a distorted synth-utopia. In a total deconstruction, the Cologne based artist turns the original club banger into a nightmarish noise staccato which spirals down your spine before dropping into a heavyweight kickdrum-inferno. Truly unsettling club music at its best.

Known as the “Dynamic Duo” Pig&Dan celebrate twenty years by making a long-awaited debut on Crosstown Rebels next month. The two-track Rock You All Night EP draws inspiration from the USA’s heritage house scene, with a slice of Hot Filtered Disco!

The influences of Chicago and New York are heard right from the offset, with rolling homegrown stabs coupled next to heavy and wholesome bassline grooves. There’s an inherent feel-good atmosphere to the piece, reflective of the era’s freedom and openness, before Let Yourself Unwind finishes proceedings on a similarly euphoric close. Disco-esque melodies flitter beneath an upbeat, repeating vocal as choir-like instrumentals build to create the perfect synergy for both dancefloor and radio play.

Pig&Dan have firmly established their presence as one of electronic music’s most esteemed duos. The pair’s releases speak for themselves, be it on Sven Väth’s Cocoon, Adam Beyer’s Drumcode or John Digweed’s Bedrock to name a mere few of the labels they’ve found success on. Their DJ performances are similarly impressive, with recent years marking the launch of a new live show that debuted across some of the biggest global stages, including Fabric (London), Warung (Brazil) and AIM festival (Canada).

HAUKE FREER'S latest offering includes two warm and moody original cuts plus an intense, bass heavy MATTHIAS REILING Remix - is that really you, SESSION VICTIM? While the duo's records usually strike a chord with a somewhat broad audience, Freer's solo output never tries to cater to the House Music masses. In fact, it feels very much tailored to please an acquired taste. ONE TINY UNIVERSE is a case in point, built upon a steady but wonky drum groove and a brizzling, retro, sci- kind of pad, eventually leading the song into an array of synth melodies that will reward you with discovering new things when listening repeatedly - showing Hauke's ability to subtly combine little bits and pieces into something that effortlessly outgrows the sum of its parts. Moving on to the ip, Reiling stripps the title track off it's warmth and beauty and replaces them with a tougher
drumset and a pressure heavy UK style bassline. You'll be reintroduced to Freer's synth work eventually, but in a less
fairytalish and, well, slightly hostile environment. MMMMM is the closing cut of the EP, a composition just as bare and raw as it feels soothing and gentle - like.... let's say beans and rice over a campre on a cold night under the starry sky of a far away tiny universe in the ngernail of some other giant lifeform.

Restock

Marcela Dias Sindaco's music captures the essence of Gated as a label, sitting half way between so many genres: bass-heavy electro, funky breaks, squelchy synth-boogie... but driven by Marcela's breathy Portuguese vocals, expressing the depths of her carioca soul. Marcela grew up in Rio de Janeiro, and as a classically trained pianist and cellist, music was in her blood, but it was her dad's obsession with Krautrock that influenced her early music taste. Later, travelling around Europe as a model, she discovered the clubs of Berlin, Paris and Milan and incorporated what she heard into her own music, using a studio filled with analogue equipment. The result joins the dots between heads-down club stompers, electrofunk, Prince, and Brazilian samba. In a word: fresh!

The Havoc guys have been on an enforced hibernation through the winter due to a lurgy that had been affecting the planet. They have remained in the cave throughout this time huddling up to keep warm and exploring what had become their home away from home for months on end. One night, whilst lighting a fire, trying to find motivation for the next release (basket weaving had lost its appeal) they spotted a glint across the way – On further inspection, it was a small bottle and had a label of sorts – It looked to be medicine or smelling salts – Liquid Gold. Curious creatures they are they all took a long good sniff of this elixir. And just like that, they rummaged around the records stacked in the corner put some more coal in the old computer and began their work.

Soon the A-Side of the new EP was born. Most certainly a step up in the BPM from the previous A-Side off EP1. A1 kicks off with a Germanic Proto Throb Job, that's sure to cause errr...Havoc on the dance floor. Whilst A2 is a Bassline Driven, Reconstructed Austrian Euro Pop Monster. One for late-night Discos.

After a while they had stopped sweating, hearts had stopped beating quite so quick. Whilst the creative juices were flowing a few more records were dug out and a log put on the fire and a cup of fungus juice imbibed. B2 came rattling out the speakers in no time at all in all its chugging glory, the vocals take in a nod to god after the devil has done his dirty work.

At this point, the sun was starting to peek through the mouth of the cave and a new day was upon them. One last record had been found, earlier, that was decided would work at this time, actually after consideration, any damn time... B2 Is like a familiar Balearic Back rub with pop-infused French vocals and beats for days...So now EP2 is complete. Back out into the world our intrepid or is it tepid threesome went... Let's only hope their wives haven't left them after all this time locked away.


DJ Support:

Jim (HMD)
Bill Brewster
Kelvin Andrews
Eric Duncan
Al Mackenzie
James Holroyd (Begin)
Pete Herbert
Phil Mison
Nick The Record
Justin Robertson
Coyote
Mind Fair
Steve KIW
Craig Christian
Dr Rob
Dave Jarvis
Max Essa
Andy Simms (Soft Rocks)
Howler
Jaye Ward
Nancy Noise
Andy Taylor (WATS)
Graeme Fisher
Severino (HMD)

One Tribe label-owner AMÉMÉ makes his debut production appearance on Crosstown Rebels next month with the three-track Drum Beat. The EP includes a remix by longstanding US house veteran Joeski, marking a major career achievement for the Benin-born talent.

The Latin influence is experienced right from the word go on Loca, as Saharan-esque elements build alongside resonant hats and playful, Spanish-like vocals. Tribal percussion drifts in and out alongside, whilst whirring key solos feature subtly throughout. Drum Beat comes next, manifesting as a welcome slice of contemporary Afro-house that’s packed full of raw instrumentals and authentic lyrical samples, before Joeski’s remix brings things to an up-tempo, club-ready close.

Specialising in Afro-leaning electronic music, AMÉMÉ has marked himself as one of the continent’s breakthrough talents in recent years. Head of One Tribe, his productions have been supported by the pioneering figure of Black Coffee since 2019, whilst his appearances on Watergate Records, Blond:Ish’s Abracadabra imprint and the mighty MoBlack Records have been equally well-received, firmly establishing his presence as one of modern dance music’s rising stars.

Joeski’s trajectory can be traced back to 1991, when he burst onto the NYC house scene as a founding member of The Chocolate Factory DJ collective. Since then, the US veteran has garnered a worldwide following thanks to his Maya label, which was first incepted in 2001, as well his keen ear for production that has seen him release on Crosstown Rebels, Relief and a myriad of other heavyweight imprints in recent years.

Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. Recorded in New York, and originally released in 1976, 'Juice' presents Ryo at the height of his powers.

Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.

'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.

Lilas records returns after 2 top class offerings with its 3rd release from minimal heavy weight Swoy. The Three track EP consists of two originals, and a remix from French duo Miroloja. Lilas records continues to push new sounds and got early support from : sit, janeret, Sepp, nu zau and many more.

The gift that keeps on giving, Purple Disco Machines' 'Exotica (Deluxe Album)' is being treated to some epic remixes of your favourite songs now available on vinyl.

Highlighted here, a remix of 'Dopamine' by current heavy hitter John Summit and a Club Dub mix of 'I Remember'.

Terrazzo is a new VA label formed by Northern Irish selector Holly Lester (Duality Trax) and prolic label entrepreneur/producer Steffan Todorović (Gestalt Records/Coymix/Hidden Assets/Abdul Raeva). The label’s debut EP journeys through a variety of club sounds with Dylan Forbes, Eric OS, Anderson and underground heavyweight Harrison BDP rolling out 4 cuts of euphoriainducing prog, broken beat-infused tech, heady minimal an contemporary Detroit techno.

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix.

Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present.

Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.


DJ Feedback:

Foul Play
Moving Shadow
"All the remixes totally land, great package, respectfully done. gonna hear a lot of these over the summer I think."

Jerome Hill
Super Rhythm Trax, Don't, Kool FM
"Was a little sceptical seeing these were remixes as its such an iconic track - BUT fair play ! Borai and Ed Solo & Blades both knocked it out of the park and i'll be playing both these, plus replacing my personal (slightly. crusty) vinyl rip of the original ! Bigups !!"

Om Unit
"Untouchable until now tbh"

jd Twitch
optimo
"even though I have probably heard it ten thousand times you can't beat the original. remixes are cool though."

Louise Chen
"this hits so hard it's tough choosing a fave mix!"

Emerald
BBC 1xtra/ Rinse FM
"Yeeeeeh found the dubstep remix vinyl of this in barcelona recently"

Werdna (Circular Jaw)
"Classic, lovely to see Hooj bringing in the big guns for the remixes. These are going off!"

Cortese
"Sick breaks on this one"

Truss/ MPIA3/ Overmono
"wicked"

Oli Warwick
Crack/ RA/ International Orange/ JunoJuno Plus
"Absolutely seminal bomb drop here, and the remixes are no joke either!"

Chris Farrell
"Always good to see this come round again, original and borai mix for me"

Smolny
"CLASICK !"

Doc Martin
Sublevel USA/Fabric UK.
"Complete Rave Warehouse Flashbacks!!!!"

Lil Mofo
The Trilogy Tapes / Tokyo
"wow!"

Moody Boyz
all over the worldstudio rockers records
"classic tune feeling the Filter Dread Remix"

Ciel
Rinse FM / Refuge Worldwide
"really nice collection of tunes!"

dop
"love the original"

Among those who have written the history of the Italian House is certainly Carlo Troja, aka Don Carlos. In 1991 Irma Records released her first single Alone which immediately became a cult record for DJs across the Channel and especially American DJs. Its particular soft and ambient sounds defined a genre that was then called Paradise House.

And it is precisely from this genre and from this Dj that Irma Records began the celebrations of its thirtieth anniversary a few years ago by
proposing a selection of its catalog chosen by Don Carlos, trying to dig among some of the pearls of the genre but above all among some
songs that featured in his evenings but were less popular at the time of their release.

This compilation had a great response and it was decided to make a volume 2, always selected by Don Carlos. Also this compilation, like the first one, consists of two compact discs and a vinyl version this time with a selection of only 8 of the 20 tracks contained in the CD and Digital version.

All the tracks on the double vinyl have been re-edited by Don Carlos for the occasion. The double cd is in a limited numbered edition.
Among the artists and producers included are: Don Carlos, Lust Unlimited, Subsonic Posse, T.M.V. (Marco Trani, Moz-Art and Maurizio
Verbeni), The Sweatbox Orchestra, Aritmya, Deep Aural Penetration, Be Noir, Love Nation, More Heavy Soul, Outdance, F.I.T.Z. and many
others

Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.

High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.

Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.

From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.

Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.

The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.

Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!

a gatefold heavy card board sleeve and heavy vinyl !! remastered and recut from original masters !!! the artwork will be true to the original (including textured covers and embosses where appropriate) and will feature lyrics, and additional sleeve notes and artwork !!!

We're here with the 14th vinyl release in our catalogue. And those of you who've been following us since day one can probably tell that it's something both new and quite familiar. How so? Well, because this particular record features a brilliant track released on CD ten years ago (!), as part of our "Mystical Deep Vol. 2" compilation, but the "new" part here is the two completely fresh remixes by two amazing artists. So let's get to the names, shall we? As for the track in question, we're talking about "Leagues Deep" - a forward-thinking half-stepper by two heavyweights known as Loxy & Resound. The track has been making waves for quite a while, and has finally reached the light of day on vinyl. As mentioned before, it is accompanied by two remixes. One is by an up-and-coming talent going by the name of AM94, who turns the original version into a dual narrative, so to speak: the first half is a proper action-packed syncopated roller, the second half - a more modern, deep sub-laden half-tempo interpretation of it. The other remix is brought to you by no one else than Resound himself, who's transformed the original piece into a breakneck-paced drum-focused killer. But do watch out for the bassline too - it takes absolutely no prisoners. You've been warned.

Charlotte de Witte takes charge of her KNTXT label's 15th release with the new Universal Consciousness EP. It comes after Amazingblaze - Venture EP and features four more powerful and psychedelic techno cuts.

Charlotte is soon to be playing her biggest ever KNTXT party in mid April. It shall take place in her hometown of Ghent and see her play a historic 10 hour set to a vast crowd of people who shall go on an all night long journey. Also in April, Charlotte returns to London’s iconic Printworks for the first time in five years, this time with her KNTXT concept and once again is set to raise the roof. While staying busy on the road, she continues to curate the Apple Music x KNTXT page while cooking up ever fresh sounds in the studio. This latest EP is another subtle evolution in her signature style.

Says Charlotte of the EP, "following up on my latest Asura EP in September, I decided to delve a bit deeper in the world of psychedelia. All the tracks of the EP are psy inspired, some more than others. I’ve been playing these tracks for a while now in the clubs. It’s been a real pleasure to see the crowd’s reaction and see the amount of track ID requests online. This one is from me to you, I hope you enjoy my Universal Consciousness EP!"

Opener 'Satori' is dark and heavy. The chunky, raw drums hit hard and flat as the squelchy acid synths pan about the mix. An enchanting middle eastern vocal wail brings an extra trance-inducing element that is sure to lock in the hearts and minds of the crowd. The super 'Kali' is a slick and high speed piece that shows the love relation between psy trance and techno. The video game style synths peel off the groove next to alien sound effects, and the subtly evolving acid line burrows deep into your brain.

Then comes the dynamic, bouncy and acid laced-title cut ‘Universal Consciousness’. It's a fulsome tune with rubbery kicks and visceral 303 loops that will melt the mind as dancers fall into its hypnotic and tripped out spell. Last of all is 'Ahimsa' with its bright, lashing acid synths and hammering kick drums. It's the perfect mix of physical groove and psyched-out synth work, and is perfect for both sweaty basements and vast main rooms alike. When the mystical flutes come in, it takes things to another level entirely.

This is another all consuming EP of innovative techno from Charlotte de Witte.

One of the most exciting names to emerge on the techno scene in recent times, Lilly Palmer makes her long-awaited Drumcode EP debut.

The German artist is a thrilling performer, who backs up her kinetic DJ sets with a quality body of production work. We got a taste of her talent when she contributed ‘Amnesie’ to A-Sides Vol.10 and elsewhere she’s dropped heat on labels including Octopus Records, Senso Sounds and her own Spannung Records imprint.

‘We Control’ is a satisfying label debut exhibiting her stealth-like ability to work a dancefloor with a variety of driving techno moods. The title track embodies a key-driven Motor City vibe, before thrilling waves of jagged synths and ravey effects take the cut into brain spangling bosh territory. ‘Resistance’ builds tension and anticipation in equal parts and is a vibe-heavy tool needed for every set. ‘Plasma’ is a full-force weapon that highlights why there’s so much excitement surrounding the rising artist. The EP closes with ‘Don’t Look Back’, as deep pulsating layers of bass cascade towards the finish line.

Another disastrous POPPERS attempt at making people feel like dancing, this time featuring a promo release for DJ Tranquilos - a completely unknown "artist", never booked before DJ, virgin territory for bookers. Guaranteed to offer anything but tranquility to the listener. French vocal epic HiNRG pop cover and Soca dancefloor bulldozer on the A side. Heavy percussive acoustic drums with extraterrestrial synths and a sound effects DJ tool on the B side. Mastered for maximum dancefloor impact - only for true Peak Time DJs.

Polish composer Olga Wojciechowska and veteran electronic producer Robin Rimbaud aka Scanner, combine on A Strangely Isolated Place to revisit a beloved Strie album - Olga's more electronic and experimental alias. With previous releases on Serein and Time Released Sound as Strie, Olga Wojciechowska's 'Struktura' was released in 2015 to a limited audience due to its physical-only format.

As Olga's work becomes increasingly more coveted, through her more recent releases on A Strangely Isolated Place (Unseen Traces & Infinite Distances), and with Struktura praised as one of her finest albums to date, the discussion to breathe new life into the album resulted in a unique pairing with Scanner, an electronic music producer and multimedia artist responsible for some of the most defining works of the genre since the early 1990s.

Blurring the line between harmony and dissonance, Struktura's original recordings paint an eerie, haunting and beautiful picture, conceptualized around abstract art, with intricacies and mystery abound. Here, Strie's original recordings remain untouched, albeit lovingly remastered by Rafael Anton Irisarri, and it is left to Scanner to provide further interpretations of Olga's original recordings. Scanner productions can typically traverse a myriad of styles, but here, Robin took a primarily live-hardware approach to the remixes, allowing the rawness of his recordings to add story and depth. Recorded in one take, with no overdubs, the reinterpretations strip the melodies and textures to their original essence, bringing an entirely analog element to Olga's intrinsically detailed originals. Featuring artwork by Rep Ringel and mastered by Rafael Anton Irisarri, Struktura Revisited will be available on Gatefold 2LP in a black/grey half-and-half vinyl, with 6x6" soft-touch heavy art card.

SAXON GO FULL CARPE DIEM WITH THEIR LATEST STUDIO RELEASE

Saxon, those seminal British Heavy Metal Heroes hailing from Barnsley, UK, will release Carpe Diem on February 4th 2022 through Silver Lining Music. Ten titanic tracks bristling with still-clad riffery and proud intent, Carpe Diem is the statement which reminds heavy metal fans worldwide who the true masters of British Metal are, drawing on a variety of ingredients from their career to forge what is Saxon’s most dynamic release in many a year.

"It all starts with the riff,” says frontman and co-founder Biff Byford, "if the riff speaks to me, then we’re on our way. It’s a very intense album, and that’s all down to the fact that the essence of a great metal song is the riff that starts it, and this album has loads of them."

From the title track’s roll-back attack to the incessant speed and power of “Super Nova”, this is Saxon at their purest and most definitive, aggressively parading the pure metal flag and imploring fans old and new to gather and celebrate the very best of both Saxon and the genre itself. “All for One” has the stomp and pure power of a “Princess of the Night” while “The Pilgrimage” is classic “Crusader”-era Saxon. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Richie Faulkner) at Backstage Recording Studios in Derbyshire with Byford with Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British Metal statements of the last few years, one which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.
“I love that sort of fast metal. I love Princess of the Night and 20,000 FT and I try and bring that style of Saxon into the music now but in a bit more modern style” affirms Byford “but it’s the same five guys playing it and singing it, so I think we don’t really sound like an old band on records because we’re not really sitting back on our past success. We’re always trying to make a great album.”
“We want every album we make to go platinum,” says Byford defiantly. "We never make an album that we don’t expect to be fantastic because there are no laurels around here, only a commitment to the best songs and riffs we can write.” Saxon have certainly made sure to Seize the Day; be sure you join them.

Secret Garden series is back with some dope killer house vibes. Clever and deep drum-machine-tracks that will fill your body, mind and soul. A brillant and hypnotic heavyweight release!

ARCYDARO is back with the third release in the series - three energetic heavy hitters representing his signature sound.

Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.

They’d go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squad’s breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.

Here, there’s a sprinkle of drums from Kool & The Gang’s oft-sampled ‘Jungle Boogie’, paired with a very recognisable portion of Eric Clapton’s ‘I Shot the Sheriff’. And that’s pretty much it – the two samples are linked, looped and left to their own devices. Such was Erick and Parrish’s confidence in their own rhyming ability and strong voices, no further embellishment was needed.

That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts – the ‘Jane’ series – and notable guest verses, this was the third straight single of pure brag rap. Two MC’s, one beat, a whole heap of lyrics about how good they were. It’s something you can’t do unless you truly are special, and this duo most certainly were.

Paired with the classic instrumental version, which didn’t make it to the US 7” releases – it’s only on a hard-to-track-down French 7” pressing from 1989 – this this is a timely reminder of how breathtakingly perfect hip-hop can be.

For our fifth release, P&f Recordings is pleased to welcome Berlin-based musician, producer, and DJ, Alex Kassian.

Over the past few years, Kassian has made a name for himself in Berlin and beyond as a solo act, as well as with his project Opal Sunn, via a clutch of well received, dancefloor-focused 12s. But on our first release of 2021, Kassian swaps the techy pulse of the German capital for a sound that’s altogether more melodic and atmospheric.

Side A kicks off with 'Leave Your Life (Lonely Hearts Mix)' which began as a way for the producer to realize some of his early—and so far unrequited—dreams of playing in a rock band.

Next up he delivers 'Leave Your Life (Dance Mix)', which ups the energy and echoes some of the production that made the musician’s 'Oolong Trance' (Love on the Rocks) one of 2020’s best club tunes.

On the flip, the gorgeous 'Spirit of Eden' unfurls like a lost Lyle Mays classic, but with a mesmerizing loop that keeps the song’s feet placed firmly on the dancefloor.

Concluding the EP is a bass-heavy remix from none other than U.S. dub legend Bill Laswell. 'Eden’s' melodic focus is underpinned by a propulsive groove and filtered through Laswell's trademark sonic dynamics.

The EP, comes packaged in a full-color jacket from Parisian artist Alexis Jamet with OBI strip.

The Minneapolis-raised DJ/Producer’s second album following 2014’s ‘Monoliths’ lands on Radio Slave’s Rekids imprint in November.

Although based in Berlin for several years, Dustin Zahn has continued to exert influence over the fertile but steadfastly underground Minneapolis techno scene as part of the Intellephunk collective whilst cultivating a worldwide rep via releases for Blueprint, Token and his own Enemy Records. The ‘Gain of Function’ LP sees Zahn channelling the groove-fuelled techno of the late ’90s and early ’00s and shaping eight powerful but funky contemporary techno tracks that display the decades of experience under his belt.

Forged from a series of live jams with two drum machines and two synths, the album is a refined collection of raw, purist techno brilliance. Across the A-side ‘Tell Me About Paradise’ brings shimmering staccato chops under bright and airy percussion before ‘Tangie Groove’ picks up the pace with floating pads, vocal slices, and a rumbling bassline. On ‘Lucid Dreams’, scattered percussion plays with hypnotic synth licks, while ‘Smoking in Silence’ sees off-kilter leads dancing between emotive vocals and evolving drum loops.

Opening the second disc is the deep and shuffling ‘Crimson Cheeks’, with trance-inducing samples nestled between sharp drum hits and rolling synthesis, and ‘Days Like These’ takes a darker turn as twinkling arps and droning pads carry the track. ‘Shark Rodeo’ featuring Jeremy Black mangles samples into a dense rolling affair, before closing number ‘Next Level Looseness’ drops the 4/4 pattern for a raucous club track, combining oddball sound sources and unruly production techniques for a trippy finish to the album.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, with anyone catching his marathon sets at the likes of Berghain exposed to expansive sets. In addition to his techno-heavy catalogue and DJing prowess, Zahn has lent production and engineering skills to bands and singers, recently working with Poliça and on Carm’s Pitchfork approved eponymous album. Beyond this, his vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the scene.

Succeeding the two first release, Eupasia returns with another work carving the label's distinct sound excursions. Half Techno and half Electro infused, with a hint of Minimal, Tooth and Nail sets the tone of the newest alias Worm Class by André Leiria. A 4-track EP ready to be thrown straight into the darker rooms, padding them with heavy basslines and bright, sleek drums.

So strong was EPMD’s epochal debut album ‘Strictly Business’ that it spawned three all-time classic singles, providing part of the soundtrack to, arguably, the height of the original Golden Age. When discussing the landmark artists of that era – Public Enemy, Boogie Down Productions, Eric B & Rakim – the duo of Erick Sermon and Parrish Smith are certainly in the conversation. And when it comes to all-time duos, they might be at the head of the table.

The original release of ‘I’m Housin’ came in 1989, and the only previous 7” release was confined to the UK – it now fetches sky-high prices. Hence this reissue couldn’t be more timely, showcasing just how fresh E Double E and PMD sound over even the most rudimentary but feverishly catchy of beats.

That was their genius – trading ‘slow flow’ punchlines over deceptively simple backings – and that’s exactly what you get here. The loop of Aretha Franklin’s indelible 1971 gem ‘Rock Steady’ does all the heavy lifting musically, the only adornment a brief vocal snippet taken from their own ‘It’s My thing’ – EPMD is a world premiere.

At a time when sampling was still in its infancy, and before producers started to pride themselves on obscurity, and on chopping up samples creatively, this was the approach of many a hip-hop song, and rap was none the poorer for it. When you have voices as distinctive and strong as EPMD, less is more.

One of the Netherlands most exciting rising names, Utrecht’s Locklead is emerging into the spotlight in style. Known for serving up heavy-hitting stabs of dancefloor driven material across SlapFunk, Pleasure Zone and Dungeon Meat, he now takes things deeper and brings his surging momentum to countryman Chris Stussy’s Up The Stuss imprint for the label’s first album release.

Stepping out into fresh territories, his eight-track debut LP ‘Square One’ showcases a previously unseen side to the Dutchman, revealing a collection of lush, deep journeys coupled with crisp house and vibrant, spacey cuts along the way.

Illegal Alien are back with another split EP for our 12′ Vinyl Series ‘No Boundaries’ this time for the edition number four. For the A Side we welcome back Illegal Alien member the great Mari Mattham with two incredible cuts and for the B Side we got the powerful Michel Lauriola with also two massive tracks, great music for the peak time hours. This is just another fantastic record and we are really proud to present it to all of you.

Repress!

In May 2018, Belgium's Amelie Lens launched LENSKE, the fruit of working on new music and collaborating with her peers. The aim was to create a platform to release her own and friend's music that they use to tear apart dance floors around the globe. Less than two years after, LENSKE is putting out their 10th release and it's evolved into something more than just a label, but a family.

During this relatively short time, the prolific crew formed by Amelie Lens, Farrago, Milo Spykers, AIROD and Ahl Iver have released a collection of contemporary anthems, storming techno cuts and acid weapons. The imprint's catalogue illustrates their exploration for a shade of techno particularly focused on the hi-NRG factor. You can usually catch them at the Exhale showcases worldwide - at the likes of fabric London, Off Sonar in Barcelona and Dour in Belgium- testing their new productions that the crowd highly anticipate for their release.

For this fresh record, each artist contributes a track for a mini VA compilation showcasing the label's sound. Belgian producer Milo Spykers opens up with 'Traversing', a heavy-hitting cut with a ravenous sound design. Hot on the heels of her recent compilation for the fabric presents series, Amelie Lens steps up with her brand new tune 'The Future' featuring energetic synth hooks with her signature vocals. AIROD goes ravey with 'Divine Power' introducing jungle elements, while on the other side, Farrago delivers a catchy vocal-led slammer with 'Step Up'. Ahl Iver, the newest addition to the label, brings the final touch with the intoxicating 'Night Creature'. The future is bright!

The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade.

“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.

Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.

The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.

One of the world’s premier house DJs, Junior Sanchez re-imagines one of his early classics, releasing ‘Be With U 2.0 (feat. Dajae)’ via Club Sweat.

As a passionate advocate of preserving the spirit of house music Junior Sanchez mixes ingredients of the 1999 original, situating the warm buoyant bass underneath Dajae’s fervent and impassioned vocals, while implementing spirited sax tones for a soul-fulfilling affair.

An iconic anthem that has lit up dancefloors for over two decades, is served dance music justice with its rebirth. Junior Sanchez bestows the ‘Be With U’ gift upon a new generation, coupled with remixes from Yolanda Be Cool and Dance System.


Supports from: Claptone, Anna Lunoe, Tommie Sunshine, Sacha Robotti, David Penn, Riva Starr, Kryder, Shiba San, HeavyFeet, Kevin McKay, Jamie Jones, Pat Lok, Heldeep Radio - The Noise House, Vanilla Ace, Moon Boots, Norman Doray, Nick Catchdubs, severino panzetta, Don Diablo, Charles J, and Patric la Funk, TOCADISCO, Chris Lake, Paco Osuna, Dennis Cruz, Bingo Players, Mendo, Riva Starr, Don Diablo, Joachim Garraud, and Roger Sanchez

Following the highly acclaimed volumes I and II, dig further into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

-Fully licensed Nippon Columbia and Victor Japan masters available for the first time outside of Japan, featuring rarities from Hitomi Tohyama, Jadoes, Yumi Sato, Tetsuo Sakurai and more!

- Tracks selection by Japanese super diggers and Wamono specialists DJ Yoshizawa Dynamite and Chintam

- Mastered and cut at Timmion Cutting Lab

- Artwork by Yoxxx (Tokyo)

- 180g heavy vinyl pressing, reverse board jacket

Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene.

After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa.

For this third chapter of the acclaimed Wamono series, Yoshizawa and Chintam unheart some of the best and rarest light mellow funk tunes and disco boogie bangers produced in Japan between 1978 and 1988. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

Whiskey Disco returns with another brilliant EP by Australian producer Kayroy, known for creating new intersections between edits, reworks, and originals that the label is known for.

A driving, tension-heavy original A-side reminiscent of early Sound Stream, complimented by two wonderfully selected reworks - a smartly tightened up beautiful instrumental gem originally by Japanese guitarist & composer, Shigeru Suzuki, and an almost necessary revision of euro-disco genius Alec Costandinos’s opus "Romeo & Juliet".

A wide ranging and fantastic record all around.

A new lick of paint for the House of Disco, serving you slick, sophisticated and just as stylish. Taking the keys for the thirtieth release, Dutch dynamo Cleanfield, who lays down a four track EP dripping in summer sun.

The A side opens with ‘Sunshy’ a disco house banger, complete with bumping bass, sun-kissed toplines and warped Kool & The Gang synth warbles, before ‘Oregano’, takes you on a Mediterranean flavoured, supercharged dream house journey spliced with tripped out arppegiated wanderings.

On the flip, ‘Krispy’ a tropical, synth-heavy party starter with sandy beaches and crystal-clear oceans in mind and ‘Caught In The Act’ an underwater sea sensation, drenched in drunken arps and a cocktail of chants, guitar licks and good vibes.

Round three of the hotly tipped, Moxy Edits limited series.

This one is a bass heavy jackin ‘90s hip hop inspired house groover. Think Sneak, Derrick Carter vibes.

One side is on a west coast infused vocal tip, with the other straight dubbin, pure clubbing. Perfect combination, check it.

Boys And Girls released in June 1985 is the sixth solo outing from English singer and songwriter Bryan Ferry it would be both a critical and a commercial smash. A No’1 album in the UK certified Platinum selling over 300,000 copies with two top 40 singles “Slave to Love” one of Ferry’s most popular solo hits and “Don’t Stop the Dance” in the US it would go on to sell over half a million copies certified Gold. An album rich with musical aristocracy The guitar solo at the end of “Slave to Love” featured Neil Hubbard and the album featured other famous guitarists such as the Dire Straits guitarist Mark Knopfler, Pink Floyd’s guitarist David Gilmour, Chic guitarist Nile Rodgers and Bryan Adams’ guitarist Keith Scott. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “Boys and Girls” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

With Resistance Belgium based Derlich presents his severly stripped down to its essence technoid visions. In avoidance of any irrelevant superstructures RESISTANCE delivers 6 equaly effective Tools ranging from ritual aesthetics with evolving rhythms and variations to unexpected heavy punches and deeply embeded obscurity reminiscent of the early Zhark releases.

Derlich erradicates the lines in genres as industrial, Underground Techno and Dark Ambient Minimalism, heavy strokes clarifies the abstraction of modern life. His passion for art, derelict dark landscapes, and abandoned locations feeds the inspiration to work in his shadowy area of electronic music.

Trippsy strikes again! Following in the memories of our various artists label debut, this release is riddled with swift round-house kicks, heavy punches and killer ninja combos that will knock any raver into the 4th dimension. Saddle up, for another Tripnotic exploration into music via Hypnohouse Records!

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

EEE are back at it again, taking a 2000's RnB vocal you thought you knew, but you ain’t never heard in this context. Bumping synth heavy roller territory made all the more seductive with that naughty RnB flex.

Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker

WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.

The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".

Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.

This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Entertainer, DJ and producer Roog is one of The Netherland’s biggest dance exports. With a history in house from the 90’s to today as a solo artist and as part of Hardsoul and Housequake Roog has an enviable CV of hits appearingf on a host of labels from Defected through Altra Moda Music!

‘If Everything Went My Way’ is a funky, filtered vocal house at its finest. Essential floor filling material that will simply stand the test of time. The remix comes courtesy of Earth n Days who have spent the last few years paving their way in the scene, forging a sound that blends energetic beats, heavy bass and more than a sprinkle of disco. 2020 saw then rise to the #2 best selling artist on Beatport! Their new remix is quite simply a sonic bomb ready to blow!

The 17th in our Attack The Dancefloor Series that is always a strictly vinyl affair. This time we’ve got some exclusive remixes to dish out in this Special Remix edition of the series.

First up we got the Freerange boss in to remix the classic Sunburst Band track ‘He Is’. The mighty Jimpster has turned in a rich and sublime mix that truly deserves to be called Deep House. Warm Rhodes licks twinkle over deep kicks dubbed out guitars and hazy echoes. The whole track is drenched in Jimpster's deft touch as a producer and we think this is one of his best remixes. A Heavenly rework you might say.

Next up is a long lost remix from Andrés of ‘I Recoginise’ by Joey Negro. Never before released this was unearthed deep within a hard drive in the ZR vaults, now seeing the light of day it deserves. Andrés does what you would expect of him delivering a bass heavy MPC driven rework, utilising the synth lines and vocoder to great effect.

Fresh off a run of hot remixes for Glitterbox is Razor n Tape’s JKriv who turns the disco arpeggios up to 11 with his soaring remix of Prospect Park’s ’The Kinda Love’ complete with live strings and percussion.

Last but not least, The Visions’s dreamy piano led remix of the classic 'My Vision' by Jakatta featuring none other than Seal on lead vocals.

As Modularz approaches it’s 50th release - Label owner Developer decided to feature a 4 track sampler taken from

The new Lp by Chicago’s Zachary Lubin named “Omronicon” this is Modularz 49 to be exact and features a wealth of groove based bangers all carrying the same aesthetic and theme through the recordings. It’s hard to pin point if this is a hard or deep release so let’s say it’s entirely both and with good reason - it’s also very synth heavy and gains ongoing momentum the more you listen. It’s very obvious that Modularz puts out excellent techno and this is by far no exception. TIP

Once again Scottish heavyweights Duellist and iFormat join forces this time for Manchester’s finest, Drøne.

Their track, Rabid is a journey through twisted synth lines, driving
percussion and punishing kick drums. It relentlessly pounds your brain for just under 6 minutes and doesn’t let up. You have been warned.

The remix package is equally as impressive.

Japan’s takes the track in another direction entirely. Reducing everything down to the bare bones, yet creating something destructively complex. Half time kick drums and a wall of building noise await here.

LA’s AXKHAN is up next, cranking up the intensity with his ferocious take on the original. Dark and menacing from the off, AXKHAN at his finest.

Last by certainly not least is rave behemoth D.Carbone. Peak time warehouse techno is where D. Carbone excels, and that’s exactly what he delivers.

Milan Records is pleased to release this stunning vinyl edition of the soundtrack to the hit anime series Cowboy Bepop.

Originally aired in 1998, Cowboy Bebop became a critical and commercial success both in Japanese and international markets (most notably in the United States), garnered several major anime and science fiction awards upon its release, and received wide acclaim for its style, characters, story, voice acting, animation, and soundtrack
Seatbelts’s repertoire covers not only jazz but also rock, electronic, funk, blues, heavy metal, country and Jpop

After the great success of the first two releases of the RE-TOUCHED SERIES, Conform Records continues its journey by giving us a new gem to collect. Gaetano Parisio seems to have no intention of stopping and calls other 5 legends to get their hands on tracks of his label's catalog. The third release contains four tracks plus one digital only bonus with heavyweights Deetron, Steve Bicknell, Ken Ishii, Oscar Mulero and Alexander Kowalski all stepping up.

Once again Swiss legend DEETRON, through his class, hits the mark. His Vesuvius edit of Gaetek's is a slamming track with driving drums and worms synths that bring it into the present day with a real sense of style.

STEVE BICKNELL is another techno legend who runs his own 6dimensions label. His edit of a track from Gaetano's Ritmatica goes as usual directly to the point. Steve stays true to the original sense of the track by masterfully adding his "Lost" touch through reverbs and percussion.

KEN ISHII, a true Japanese techno titan, incredibly manages to bring color and life to Gaetek's Advanced Series Vol. II. The result is amazing! The track is a dance floor killer. Its vintage charm is the key!

The Spanish Maestro, OSCAR MULERO, brings his dark and hypnotic style to the original Gaetek track. His Ømre Edit totally distorts the original one using percussion and filters giving that hypnotic flow for which the Madrid artist has always been known and respected throughout the techno underground scene.

To close this majestic EP ALEXANDER KOWALSKI, the backbone of the German techno scene, through his incredible talent creates a true masterpiece. His edit of Gaetano Parisio's Quake is undoubtedly something special. The syncopated rhythm and the addition of synths, create a third millennium atmosphere. His crystal clear talent as a producer is captured in these 6.25 mins.

Lovers of true techno will not be disappointed. This is for sure!