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Nicolai Toma returns to Subject To Restrictions Discs with “Phase Binder feat. Zorimira”, bringing flourishing organic waves of synth and acid gristle to the table. The Berlin producer is accompanied by his longtime friend vesto comodo from Stockholm who contributes a remix and Zorimira lends her voice and lyrics.

“Phase Binder feat. Zorimira” is more than a collection of tracks. It is a condensate of the musical spheres Nicolai Toma has been working on over the last few years. The corny beats are the foundation of all three tracks, whether it’s a downtempo chugger, an acid bomb or a pop-tinged house hit. In collaboration with singer Zorimira, Toma has used her voice and lyrics that sound like clever samples but are actually original recordings. Toma receives further support from the Swedish producer vesto comodo, who contributes his own version of one of the tracks in the form of a remix.

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

Resonance is one of the most powerful forces this world has,
simply because there is no way to stop it. A drop of
condensed water separates itself from the concrete ceiling.
Propelled only by its own weight, it plummets down towards
a cacophony of naked bodies and §ailing arms to shatter on
a the forehead of an ecstatic dancer. And while all this is
happening, a voice resonates through the entire room,
making the walls shake and the crowd lose themselves even
further : “Move Your Body, Move Your Soul”. Narciss emerges
from a grimey basement in Berlin to bring us two heavy
utility dance§oor cuts on Actions Speak Louder Than Words,
his ¦rst Solo EP on Seelen. The title track is truly something
to behold. With a breakneck tempo, hard hitting percussions
and a legendary house vocal, it wields an absolutely
hypnotizing power that, before you know it, will make
everyone in attendance grind and juke till the early morning
hours. There is a palpapable vibe of mid 90s Detroit-Techno
but still it manages to cut out an identity for its own, with
razor sharp sound-design and a very uplifting attitude for its
genre. And while the tracks arrangement and sound-design is
very minimal, it is on Brennpunkt that Narciss really §exes
his trademark way of building tension with remarkably few
elements. Everything here is stripped down to its most
functional core. The synth-lead is simple yet menacing, the
kick-drum hits like a boxer, and you can be pretty sure that
the hihats will leave burns if you get too close to the record.
As is custom on this label, the B-side is dedicated to thereconstructive efforts of friends or family. This time the
mastermind of Manhigh and Grounded Theory, Mr. Henning
Baer, and Seelen’s very own Shaleen have both let their
actions speak. Henning Baer has taken on the title track in
his Remix and has transformed it into a true vintage electro
cut. A distorted synth and pad add heavy grit to the original’s
vocal, and the warehouse sized kickdrum will knock anyone
unprepared off their feet. Meanwhile Shaleen’s reinterpretation of Brennpunkt strips it down even further,
swirling the original’s elements into a groovy maelstrom.
This version rumbles, clicks and sneers, with sampled voices
from a Shakespeare play giving the whole ordeal a truly
macabre feeling. This is a tool for only the most darkest of
warehouses when the night is at its peak. So now, to
summarize this record : it is a call to action. And because of
this, it continues to resonate, even when the last track has
been played. And a resonance can never be stopped.

2024 Repress

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

Jasper Street Co. is one of the House Music community’s signature artist endeavors. Produced by Baltimore’s legendary production team The Basement Boys, and consisting of a collection of singers who can emote on the highest level of gospel, soulful and peak hour house, this collective has been riding high for years and is now going next level with the recent release of the “Rejoicing” album on Nervous Records. Prior releases from the album have skyrocketed to the top of DJ sales and club charts, with “Praying For You” being nominated for a Grammy for the Louie Vega remix in the Best Remixed Recording (non-classical) category.

Up next is a cover version of a song originally recorded by Teddy Pendergrass. Written and produced by Gamble & Huff, “You’re My Latest, My Greatest Inspiration” was originally released on Philly International Records in 1981. It was a massive R&B & Disco hit back then, and now has been updated by Jasper Street Co. for the house music community. The single package has an outstanding collection of remixers on board who make the project something even more special for the purists but also will launch into the larger worldwide music community. Teddy Douglas produced the original album version, but comes back for another take while adding some serious bass / kick drum juice with his Teddy Douglas Bass Intro Remix. Micfreak and DJ Spen put a highly creative spin on the original with some added effects on the vocal and a piano line that soars into the highest level of peak hour house energy with their Higher Love Remixes. Tensnake also gives it a very distinctive and infectious groove, while Dr. Packer takes all the original elements and uses his great talents and appreciation for soulful house and disco to make this project even more essential for house purists than it already is!

Double Vinyl package on Feb. 5 on Nervous Records. Includes custom jacket and yellow vinyl.

Glockoma 2 is the third studio album from Memphis rapper Key Glock, and follow-up to the wildly successful mixtape, Glockoma. The deluxe physical release sees the addition of 8 new tracks, and includes 3 singles released shortly after the digital deluxe release. As we’ve grown accustomed to with Key Glock’s solo albums, Glockoma 2 features all material written and performed by Key Glock, and only Key Glock. Standout tracks from the album include “Work,” “Dirt,” “Chromosomes,” “Presidential Rolex,” & the explosive single, “Let’s Go,” which saw its own moment of virality upon its cinematic music video release and was recently Certified Gold by the RIAA. The 2xLP deluxe vinyl release is pressed on Cobalt marbled vinyl with Red Splatter, and housed in a gatefold jacket with poly-lined sleeves.

Ten years after his first full-length effort ‘Man Is Deaf’ landed him firmly in the runnings for DJ Mag’s album of the year, prodigal son Michael Anthony Wright AKA Brassica returns to Civil Music with a deeply accomplished, painstakingly whittled LP of hydraulic electro slickness, rich synthscapes, and hooky, peak-time tearjerkers for the most discerning front-left lifers. ‘Tribeless Gathering’ is a barnstorming testament to Brassica’s stylistic and timbral deftness, touching down in the elusive epicentre of the club/home listening venn diagram with ease.

From the elastic, neon acid pointillism of opener ‘Hop Kweng’ to the mardy, miasmic plod of closing chugger ‘Changa Hill’, Brassica seamlessly segues between avenues of influence, his notoriously omnivorous musical knowledge roadmapping each turn. Raised on a diet of everything from early rave standards to metal, and schooled in avant garde sonics as a student of sound design at LCC, Brassica does a peerless job of sublimating his countless influences into a record of refined, heterogeneous, and most crucially, catchy, club moods.

Less spartan than his more recent oeuvre on Feel My Bicep, and less baroque than his technicolour experiments in postmodern synth pop with vocalist Stuart Warwick, Tribeless Gathering represents Brassica’s triumphant return to the main room, replete with rushy hooks primed for the planet’s finest soundsystems, and passages of heads-down tension bound to draw listeners right to the edge of their seats. Overall it is a concise and refined testament to Wright’s command of spectral sonics and effortless ability to pressurise a dancefloor. It is no surprise that he has also worked as a prolific mastering engineer, tuning music from a plethora of dance disciplines for maximum club impact. This work extends to his own projects (including this one), cementing them as rare expressions of complete artistry from studio to turntable.

As we delve deeper into the record, we are ushered through a series of accomplished and varied club moods, each channelling a unique cocktail of influences, but retaining a warm, ebullient analogue sensibility unique to Brassica’s work. This playful scope of influence calls to mind James T Cotton or Machinedrum’s experiments in dance music form, but Wright manages it all under one roof, wrangling everything from sashaying wub-laden two step to snarling Dillinja-esque FM damage into something inherently his.

Choice cut ‘Change Yourself’ layers an almost Cerrone-like piano refrain over radiant surges of saturated bass, dubby, strobing chords and a jagged, driving break, building to a jaw-clenching apex of dancefloor elation, while the rude, playful half-step of ‘Elevation’ breaks down the vintage speed garage formula into linear fragments, utilising a tight palette of resonant bass slugs, infectious synth leads and Papua New Guinea-style vocal strobes. The aptly named ‘Hold Tight’ fuses heart-in-mouth UK ‘ardkore pads with glissando acid disturbance and surgical snare fills in a formula which recalls the ethereal grit of Nubian Mindz’ 00s experiments in big-smoke break science, while the questing melodic arcs and arpeggiated squarewaves of ‘Pinball Marinara’ could easily have soundtracked an 80s sci-fi epic, beset with sparkling, bare-bones drum programming and hazy beds of sub sediment.

With ‘Tribeless Gathering’, Brassica both irreverently fuses and pays homage to the many unique and weird permutations of UK dance music. The short lived gathering of junglists, ravers and house hotsteppas of a similar name may have long since dissipated, along with the tribes themselves, but across these 11 tracks, he lays a blueprint for a new sound of togetherness.

Warehouse Find!

Maceo Plex’s taste-making Ellum Audio serves up a sizzling EP from Madben, featuring a remix from men of the moment Brame & Hamo.

Frenchman Madben has a healthy reverence for Jeff Mills and Detroit techno that infuses all his work. He has been mentored by Laurent Garnier and released on a wealth of quality labels from Bedrock to Suara. A resident of the Rex Club in Paris where he puts on his MAAD parties, he is now a regular in the best clubs around Europe where he serves up his always profound sounds, something he does again here.

First up is the fantastic ‘Blooming’, with its old school rave styles and dusty breakbeats. Euphoric chords light up the whole thing and it’s a tune that is sure to get hands in the air. Brame & Hamo are Irish sensations who are based in Berlin and known for big tunes that range from house to techno to disco. After establishing their own label they step out with a remix that is superbly stripped back. On deep rolling drums, sleek synths unfold and take you on a cosmic adventure that is well paced and cinematic.

Madben’s ‘Enjoy Yourself' is well crafted techno with a sense of progression in the ever evolving lead synths. Rumbling drums provide the power below and filtered, whispered vocals are an intriguing detail up top. Last of all, ‘Haze’ is a prickly track with snappy mental drums, off kilter synths that twist and turn and a dark energy that is tinged with industrialism.

This is a fresh techno offering that comes with plenty of new ideas that are all
expertly executed.

The story of this EP dates back to 2021, when we—the whole BMP crew—were attending our annual family gathering at the now-defunct Sarcus festival (R.I.P).



On a late Saturday afternoon, we all gathered under the same tent to watch one of our dear friends perform live. You guessed it: this friend is Malouane. From the first track of the live set, we in the audience exchanged astonished looks. We knew he had been working hard on this live set for months but didn't know anything about it. As the live set unfolded, we kept traveling mentally in a perpetual state of amazement.


By the end of the set, we all had the same idea: to congratulate Malouane and ask for the tracks so we could release an EP that would capture the essence of this live set, allowing us to relive that very special moment.



After a long wait, we are now more than happy to share some selected tracks from the set with you, hoping you will feel the same excitement we felt at the time.
As a cherry on top, besides having four tracks from Malouane, we asked our dear friend Gabriel Belabbas—from Positive Future—to craft an additional remix, giving this EP a deep house edge.



Certified floorfiller!

Charles Levine is best known as one half of SoulClap, the love-fuelled production and DJ duo that brought all new emotions to the dance music scene when they first emerged in the mid-noughties. MartinButtrich is an acclaimed studio wizard and Grammy-nominated producer with an enviable discography that pairs meticulous synth craft with compelling grooves from across the house spectrum. Together, the two have formed a close friendship originally stemming from a 2016 collaboration where Buttrich mixed and added production to Soul Clap’s self-titled second album which was released on !K7 Records. Since then, Buttrich and Levine have worked their way through a variety of studio sessions, exciting moments of synthesis and deep philosophical wax-ings, ultimately culminating in this present moment in time on Stratasonic.

They open up their new EP with 'Festival Queen', a powerful and fulsome cut with angelic vocals working you into a frenzied state as the percussive grooves power on. After a pulsating, stripped-back Dub allows the colourful synth work to shine, 'Festival Queen Reprise' is stripped of the drums and becomes a more heavenly piece perfect for comedowns.'Charlie & The Moog' is a deep and playful trippy affair with languid synths bringing cheeky energy to the loose-limbed drums. It's a cosmic world of ever-shift-ing melody that warps space and time, and a dub gets even more wonderfully woozy.

2024 repress

“The doors are where the windows should be, and the windows are where the doors should be”. If you had been in one of the more open minded all night raves in the early 90s you are likely more than familiar with Earth Leakage Trip’s ‘No Idea’.

You could write several pages about the 'Psychotronic EP' and still not nail it as well as Discogs user covert_operative's description of 'urban, British psychedelic music.' The Acid House narrative is all about ecstasy, but for many, especially outside of London, there was a lot of LSD involved. Things were edgier, too, with parties in derelict, liminal spaces. By the time this record came out in 1991, the rave was properly diverging from its house music beginnings.

The Psychotronic EP was the first release on the legendary Moving Shadow label. Its lead track 'No Idea' is both the perfect entry point to the catalogue and something of an outlier. Neil Sanford had been writing music for a few years before playing some demos to Rob Playford in his car outside a nightclub in Wood Green. Simon Carter got involved, and the pair went to Playford's studio to manifest the madness they'd been sketching with rudimentary gear.

'No Idea's use of samples was wholly inspired and far more surreal than so many of the dark-side tracks that were to follow it. A friend of Neil's had given him a record called 'Happy Monsters' and the lead track, 'Adventures in the Land of Ooog,' lent the unforgettable children's vocals. Neil initially had his doubts. Had they gone too far? However, while working on the track, Rob Playford's girlfriend ran in shouting, "you HAVE to use that!" And so it came to be.

As a footnote, the track did prove to be strong medicine, with at least one documented account of a promoter having to be talked down by his friends after hearing it when psychedelically altered.

The Psychotronic EP is a truly visionary piece of work, standing poised on the edge of the rave's burgeoning future and entirely outside it. As such, it's never not been a cool record, as appealing to lysergic adventurers as it is to house heads, hardcore ravers, or experimental music pioneers. And it has now been lovingly reissued by Blank Mind, for which I'm eternally grateful, seeing as my copy is battered beyond belief.


Written by Piers Harrison

Remastered by Graeme at the Exchange

Licensed with permission from Moving Shadow

Played by Autechre, Colin Dale, Colin Faver, Orbital

Originally released in 1990, Same Place The Fly Got Smashed was Guided By Voices’ fourth album in as many years. Roughly a concept album about an alcoholic named Joker Bob who goes on a bender, someone dies, and Bob gets the chair (“the electrifying conclusion”). From the moment the needle drops, the listener is served notice that this isn’t going to be an easy listen, as an argument taped off of a TV cuts to a basement recording of a lone, blaring electric guitar with someone yelling over the top. But for those brave enough to pass the opening hazards, there are wonders within. This particular album has come to be held in higher and higher regard by fans, and they are correct to consider it a top-tier release. The story and sequence have a flow, and consideration for approachability is optional. Many of the crudest tracks reveal themselves as necessary stitches in the album’s tapestry. Yet it also contains all time greats like “Drinker’s Peace,” “Mammoth Cave,” the epic “Local Mix-Up/ Murder Charge,” and of course “Pendulum” with its immortal opening line: “Come on over tonight, we’ll put on some Cat Butt and do it up right!”—a rare break in the clouds on one of the band’s darkest albums. This reissue, like the previous ones in this series, is a mostly faithful reproduction of the original pressing of 500 on the band’s own Rocket #9 label. And like the others, the virgin RTI vinyl is housed in a thick tip-on jacket, and includes Robert Pollard’s original handwritten lyric insert.

DJ Support: David Penn, DJ Mes, Kevin McKay, Sebb Junior, Art Of Tones, Robbie Rivera, Moon Rocket, Peter Brown, Hatiras, Johnick, Dam Swindle, Jimpster, Disclosure, Ricardo Villalobos, Luke Solomon, Nightmares On Wax, Laurent Garnier, Louie Vega, Steve "Silk" Hurley, Terry Hunter, DJ Sneak

A1 – Vinyl opens on serious anthem by one of Chicago’s greatest also known Stacy Kidd. 'Music For You – MF Mix' encaptures the soulful power of music and the silly energy of garage house dancefloor. This already classic banger track got some little twist for 2024 re-release, and we are honored to be able to release such a nice House track on wax eventually, almost 18 years after Original release (2007)

A2 – Fouk is serving some powerful deep house disco driven music, with a clear inspiration taken from the Garage house spirit of the 90’s-2000 golden era. The result is Cobalt, an impressive dancefloor weapon delivered by the acclaimed duo from Netherlands.

A3 – We are honored to welcome Michele Chiavarini into closing A side on a deeper touch – Vibe We Share. If michele is known for its musicianship and craft capacity that brought him to work all around in the music, he delivers here an interestingly deep house track, with beautiful vocal addition that bring a modern flare to the classic soulful house sound.

B1 – B Side open on a disco banging track, and who better than the jackin house hero Angelo Ferreri to get ourselves shaking heavy on another disco cut ? All Time Disco is probably a track that will have a strong connection with hectic dancefloor. What a delight

B2 – Some very delicious vibes follow on with Marc Cotterell addition to the compilation – Paris By Night. Here goes a journey to soulful house and organ ride with many garage house hints & breaks, Marc brings here a very musical track that might fit easy listening session and dancing hours both with ease and elegance.

B3 – Last of the list comes Teuteu with Kong. Emerging artist and newer to the scene than most of the previous artists, teuteu is noneless bringing some awefully interesting vibes on his B3 closing with a heavy Jazz House track. Organ jazz solo, deep chords, broken house patterns, all you needed to wrap up our Gravity compilation with adequate taste and charm.

DJ support: Folamour, Benny Rodrigues, Prunk, M-HIGH, Jamback, Dennis Quin

Aron Volta, one of the first in-house artists of PIV returns to the label with his long awaited 'Get On Down' EP. The track has been doing damage on dance floors around the world for almost two years already. Finally, the moment is here to show this future classic the light of day.

Jenifa Mayanja is a favourite amongst true deep house heads. Her work is smoky, jazzy, and emotive, and has come on labels like Underground Quality before now. Here she arrives on the sixth EP from fledgling but already cultured label Sole Aspect and shows off her sophisticated sound once more. 'Rise To The Top' is full of elegant harmonies and jazz melodies that dance on pulsing rhythms, 'Like A Dream' brings spiritual vocals to bold chords and dusty drums while 'Our World' has piano lines floating high over the languid drums and bass.

'Rose Colored Glasses' has fresh melodies and challenging synths that defy usual genre norms and bring all new ideas to deep house. This is music that elevates mind, body and soul.

Stefano De Santis kicks off this Best Of Various with Murk, as the name suggests its a dark workout from one of Rome’s finest producers. Following that are Batavia Collective from Jakarta. When we first heard the live demo for this we were blown away and had to get it out on TLM. Batavia Collective are Elfa Zulham on drums, Doni Joesran on keys and Kenny Gabriel on synth bass. All mixed by Stefano De Santis. Rounding off the A side we have Cormac Fulton and his follow up to Perplexed on TLM025 with a new track called Loungeware. Based in Salford this is another atmospheric track from Cormac featuring Netherlands born but now Rio de Janeiro based flautist Floor Polder. Floor also appeared on Steve Conry’s rework of Guinu - Eletromadinga which featured on Colin Curtis Presents Jazz Dance Fusion 4 Part 2. Loungeware was mixed by Steve Conry and Matt Cox. Onto the AA side and we have Montreal resident Mike Perras with Soullous, a superb dancefloor track, live drums and amazing keys, in fact everything you want from house music. Next up is Future Jazz Ensemble from Vibo Valentia who follow on from their Rough Time EP TLM028 and appearance on TLM030 with another broken jazz monster of a track called Over The Rainbow. Finishing off side AA is Takahiro Fuchigami from Fukuoka with another fine track called Outer Heaven, a great follow up to Strange Acquaintance which was on TLM034.

366 DAYS MUSIC, the brand run by Geneva-based artists Auguste Safar and Raphael Graham focused on promoting music events, is expanding its horizons and finally debuting as a record label. Aimed at showcasing house, techno, and minimal techno sounds, the label owners Auguste and Raphael are debuting with "Za Ria." On the remix duties? No other than veterans Dandy Jack and Ricardo Villalobos resurrecting their Ric Y Martin moniker.

The title track, 'Za-Ria' (A1), provides a glimpse into the young duo's talent and producer ethos: robust minimal grooves, rolling basslines, modular bleeps and bloops, ritualistic percussions and meticulous sampling — all the necessary ingredients for peak-time shenanigans. 'Depth's Drunkenness' (A2), on the other hand, follows a somewhat hypnotic path. Its rhythmic structure remains as tight and stomping as the previous track but expands on minimalism. Vocal whispers and synth stabs fill the space, keeping the frequency spectrum exciting and alive. On the flip side, Dandy Jack and Ricardo remix 'Za-Ria' (B1), throwing a 4-by-4 groover into a frenzy of sample mangling in micro/macro proportions. And while granular sampling and modular processing are usually unpredictable tools, here, everything is rhythm, like beautifully organized chaos.

Quickly establishing themselves as some of the most exciting young talents in the Swiss electronic music scene today, Auguste Safar and Raphael Graham, along with their 366 DAYS imprint, are ones to look out for.

Acid House is a genre most DJs love, play and sometimes produce. As an all-time acid aficianado, Ten Fingerz has already produced several tracks in the genre. This time he has decided to invite other friend producers to come and toy with the 303 sound. This is how the "Acid Friendz" EP is born : 4 acid tracks, each one made in collaboration with a different producer, bringing his own flavour to the record and the "acid sound". The guests are well known dancefloor agitators, in the persons of James Curd & Mr. Flip, S3A, Brooklyn Baby and the Tomasi Brothers.



Each track expresses the desire to collaborate on the project and just make acid tracks, the way House producers have for decades now, from Chicago and the world over.

Frappé says be ready to Jack!

Ralph Session is a producer who has been making his mark on the house music scene dropping quality underground house music since 2009. The New Yorker, now based in Barcelona, has racked up well received releases on some of the hottest labels around including Razor n Tape, Local Talk, Nervous, Moulton Music, Large and Exploited and continues to head up his own label Half-Assed as a platform to curate the culturally deep sound of his native New York City. For his Freerange debut he’s joined forces with LA producer and vocalist Juliet Mendoza who can also be found dropping gems for the likes of Planet E, Ocha and Shaboom.

Freak sees Ralph stay true to his roots once again with all the US house hallmarks present and correct. Muscular beats keep things punchy and with plenty of weight and energy whilst the simple stabs and vibraphone hook and just the right touch of musicality without getting in the way of the all important groove. Juliet Mendoza adds the icing on the cake with her spoken word urging you to cut loose on the dance floor.

Detroit’s own Ladymonix steps up for remix duties and turns the Freakometer up to 11. Fresh from output on her own Frizner Electric label as well as Planet E, Toucan Sounds and Studio Barnhus, she twists things into an otherworldly house jam which will lock you into it’s minimal groove. By glitching out the vocal and keeping the groove stripped to the core Ladymonix has created a club track that will stick in your head long after the lights come up.

In addition to these two versions we also have Ralphs own Brooklyn Bounce Mix and an instrumental to get your teeth stuck into.

Through the medium of a distinctly synthesised, sustained ambience, seasoned artist and composer Jasmine Guffond arrives on OOH to explore the tension between technology and human creativity in an increasingly ambiguous playing field.

Alien Intelligence came into being during Guffond's residency at fabled Parisian institution GRM in 2021. While learning how to generate sound and make music with the in-house Serge modular synthesiser, the Australian artist noticed the typical role of human input for machine output was being subverted by the behaviour of certain electronic elements, which came to exercise their own influences on the direction of the music.

Taking this idea one step further, Guffond proceeded to explore the programming environment MaxMSP, a customisable interface which allowed her to blur the lines between human input and machine directives even further. Across the three extended pieces which make up Alien Intelligence you can hear the results of Guffond's inquisitive approach as she coaxed the machines into bringing their own ideas to bear on the music.

The tension inherent in this thematic duality is mirrored by the contrast between glacial ambience and chaotic interference across the album. On 'Serge & Maxine Variation One' the presiding mood is a slow and patient one, as undulating waveforms rich with harmonic overtones spill out over one another across 10 minutes. The track's latter passage, driven by steadily intensifying oscillations, is then interrupted with an unexpected flurry of pitch shifting. This kind of complex technical movement features more prominently at the start of 'Serge & Maxine Variation Three', which then gradually shifts into a gentler ebb and flow of rising and falling frequencies.

Angled slightly differently and residing on the B side of the album, 15-minute quiet epic 'Serge & Maxine Variation Two' bookends a louder passage of synth work with serene, sustained notes that ring out a sort of hymnal melody. Throughout, the movement in the music evolves in subtly modulating, hypnotic, ways, but there are also unexpected turns or melodic diversions which feel much more incongruous. In its closing stretch, the notes dart around more freely as though played by hand, but it's hard to be sure whether these shifts in the otherwise delicate tonal music were a human conceit or a programming by-product. In the end, the two inputs logically become one.

As Guffond says herself, "More-than-human logics emerge, a kind of alien intelligence that questions an assumed central position of human subjectivity in socio-technical assemblages and considers the philosophical, socio-political and cultural implications beyond music practice in an increasingly technologically mediated world."

As AI creeps into art as much as other aspects of modern life, Guffond applies her playful instinct to the theme of these works by re-considering machine intelligence as 'alien', crediting its contributions with a more robust yet enigmatic identity in the creative process, leading to an end result which is far from artificial.

►Mastered by Giuseppe Ielasi, cover art by Ilan Katin, layout by incepBOY, photo by Camille Blake, words by Oli Warwick

DSSC001 VA is made of 5 tracks across the wide electronic music scene, involving the listener in a trippy safari through the mind, with quirky musical accents. As humans have an infinity of nuances, vibrations and perceptions, eclectism is the main point of this first opus. A spicy cocktail between retro vibes, nostalgic synths, sweet trancey touches and wild electro-house.



With no boundaries, D.ssoci8 has his heart set on feeding the prism of freedom, which fluctuates in the direction of the creative genius. It’s all about the third eye, diving into an ocean of levels of consciousness and identity processes, inviting everyone to connect with the true Self, the others and the universe.

Daniela La Luz announces her highly anticipated 3rd album, 'System Reset'. For the first time, Daniela has compiled all the music and artworks featured in the album, showcasing her genre-blending style in this 11-track collection rooted in electronic dance music.

Recognized and celebrated for her exceptional live sets and productions, Daniela has garnered support from some of the industry's most esteemed DJs, including Solomun, Adam Port, and Sven Väth. Her track 'Did You Ever', featured on Moodymann's 'DJ Kicks' mix, has amassed nearly 3 million plays on Spotify, proof of her growing influence and popularity.

'System Reset' is a testament to Daniela's ability to reflect on personal crises and global issues through her music. The album features dancefloor-oriented tracks with influences from a diverse range of genres including house, techno, dub, electro, wave, jazz, and breakbeat. The linguistic diversity of the songs, in English, Polish, and Arabic, further adds to the album's global nuance. The AI-generated artworks are a unique visual representation of the music. The tracks were mixed by Tobi Neumann and J Manuel at Apollo Studio Berlin and mastered by Manmade in Berlin.

Daniela's music serves as a powerful call to action against climate catastrophe, underlining her belief in the unifying and inspiring power of music for a sustainable future. The album will be released on double vinyl on June 14th and digitally on June 21st via her label, Dimension Of Being Human.

Numero's second bundle of cover 45s is all things soulful. The Rotterdam-based Another Taste electrifies Maxx Traxx's 1984 Chicago boogie grail "Don't Touch It," which makes its debut on the 7" format here. Colemine Records' Say She She delivers a glamorous rendition of Jim Spencer's yacht-disco hit "Wrap Myself Up In Your Love." Columbia Recording artist Leon Bridges effortlessly transforms Pastor T.L. Barrett's "Like A Ship," updating the 50 year old gospel soul classic for the 21st century. All three are housed in a newly imagined Numero custom sleeve, reflecting the many shades of our ongoing Eccentric Soul 45 imprint.

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

Moxy Editions Vol 7 is packed with 4 absolute gems from House, Disco, to Minimal & a Deep Bassy wobbler.

First up is Sosa with the track ‘bring it back’ which has been supported by such a long list of DJs we wouldn’t be able to list them all in here, this is a peak time bass heavy bomb track that is guaranteed to do the business

Jordan Peak’s Disco Nights is as the names suggests is a peak time dancefloor smasher with a thumping & on a disco vibe.

For those more into the nu skool minimal vibes the Adam Lance track is for you. Tried & tested by Darius Syrossian it has been stealing the show every time. As Darius says you know something is massive when you get hounded with track id requests for a track!

Finally it’s ’Tear The Club Up’ this is a classic from the Viva Warriors / Tribal Sessions days that was never released on Digital, & will never be released on Digital, this was made by Darius solely for his BBC RADIO 1 Essential Mix recorded live from Sankeys Ibiza in 2013, and was an anthem for a few summers, but never released, here it is Vinyl Only this one time, if you want a copy here is your chance

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

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

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


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

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

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

Repress!

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

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

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

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

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

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

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

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shop of the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

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

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

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

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