Buscar:house of house

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.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Omega, die erfolgreichste ungarische ProgRock Band, veröffentlichte sein bestes Material in den 70er Jahren, und "Time Robber" gilt als der musikalische Höhepunkt in der Omega-Diskographie. Kernstück der LP ist der Titelsong, flankiert von "House Of Cards Part I & II". Das fast 13-minütige Werk bündelte exakt, was Omega 1976 ausmachte: Progressiver Space Rock versetzt mit Hard-Rock-Elementen. Nach vier Studio-Alben und einer Compilation waren die ungarischen Top-Stars Omega im Westen immer noch nur ein Geheimtipp. Eine steigende Tendenz bei den Absatzzahlen war aber zu erkennen, selbst wenn die Verkäufe längst nicht durch die Decke gingen. Darüber hinaus hatte sich die Band entwickelt, war live und in ihrem Erscheinungsbild professioneller geworden. Die Bacillus/Bellaphon-Verantwortlichen wollten Omega demnach auf jeden Fall behalten und verlängerten 1976 den Vertrag mit dem Quintett bis 1980. Und dieses zog mit Peter Hauke in die Offenbacher Europasound-Studios und spielte dort "Time Robber" ein. Die LP wurde im Westen Omegas Durchbruch. Bis heute soll sich das Album an die zwei Millionen Mal verkauft haben. Und dieser Erfolg kam nicht von ungefähr, lieferten die Ungarn doch erstmals ein komplexes, in sich geschlossenes Werk ab.

Repress!

The label has a simple mantra; no frills club cuts designed for the dancefloor. For their second outing, Demi Riquísimo has enlisted Kiosk Radio and Fuse Brussels resident DC Salas to fulfill the brief, via the ‘Tio’ EP.

A DJ noted for his versatility with his sets effortlessly melding a plethora of styles from house, techno and trance to disco & new beat. This broad range of influences is on full display on the buttons as DC Salas shows his range as a producer right across the ‘Tio’ EP.

The EP kicks off with the emotive title track ‘Tio’. DC explains the context:

“It features the voice of my godfather (my dad’s uncle, who was like a brother to him) who passed away unexpectedly some months ago. We found a video of him (he hated being filmed) one week after he passed away, with a wonderful talk he did on his birthday last year. The vocal is an extract of this video.”

Up next is 'Fearless Is More', a track where DC’s production dexterity comes to the fore. The track combines elements of 90’s trance, with a jackin’ bass line and vocal samples that evoke images of the early Amnesia Ibiza golden era.

The B-side opens with 'Never Ending Story', another track which speaks to Salas’ vast array of influences with a synth topline sounding like it was straight out of the Ancienne Belgique. 'A Departure' chugs along menacingly with an acid house flourish in its second stanza, for some peak time perfection. The EP is completed with 'Slowtospeed', which juxtaposes melancholic pads with progressive synths and a driving to bass to make for an extremely well rounded first outing for DC Salas on the burgeoning imprint.


DJ Feedback:

Job Jobse - Great release!!!

Make A Dance - this is wicked, Never Ending Story is the track for me.

Kiara Scuro - Absolutely love this! Definitely will be playing.

Dave Harvey - This is great.

Tech Support / Asa Tate - DC is king!

Timo Deeprhythms / Echocentric Records - Stupid good release!

REES - Love this one!

Martyn Bootyspoon - Absolutely send these over!!

Sara Miller / Public Possession - Really really like this record. Totally my vibe :) All are excellent tracks but Fearless is More is my fave. But really digging Never Ending Story and Tio too!

Aletha / Rinse FM - Sounding perfect for my sets at dimensions

Aiden Francis - Wooooah, love these. Such a varied release!

Ciel - I love the A1 on this! Tio is gorgeous.

Holly Lester - Great release, Tio is biggg!

Vessel Recordings Group is a new label from the United States and kicks off with Natural Rhythm aka the duo of Thomas White and Pete Williams. They have been working since the 90s on their own brand of house and as this EP shows it is stylish, rooted in tradition but full of contemporary designs. 'Jillybean' is raw, stripped back and perfect for backrooms. 'The Chase' is a slamming cut that pushes on with classic vocal samples twisted into something new, and great swing. 'Son Of Orange' is another lo-fi, high-class house sound with real weight and machine soul and 'Pocket Ops' closes out with dubby techno energy. A fantastic, no-frills EP to get this label underway.

Endlich ist es soweit: Schwedens Electro/ Synth-Pop-Sternchen Ashbury Heights melden sich zurück mit ihrem neuen Album “Ghost House Sessions - Vol. 1”. Bekannt für Anders Hagström’s einzigartige Stimme, einen unverkennbaren Musikstil und ihre mitreißenden Live Shows, liefern Ashbury Heights nun einen brandneuen Longplayer mit 23 neuen, wunderbar eingängigen und tanzbaren Songs mit Ohrwurmgarantie. “Ghost House Sessions - Vol. 1” ist ein außergewöhnliches Produkt aus langer, intensiver Arbeit und einer aufregenden sowie anstrengenden Zeit der Band: “Das vergangene Jahr war unglaublich inspirierend. Es gab großartige Höhen, aber auch unschöne Tiefen. Diese Achterbahn der Gefühle nimmt nun Gestalt in Form neuer Musik an”. In ihren nun schon fast 20 Jahren, haben Ashbury Heights nie aufgehört, ihren Sound aus New Wave, Electro, Synth Pop und Industrial weiterzuentwickeln und zu perfektionieren und beschenken uns wieder einmal mit einzigartigen Meisterwerken, die wirklich alle Füße und Hüften schwingen werden lassen.

Nach Paramores Coverversion von "Burning Down The House", Teezo Touchdowns "Making Flippy Flop" und Lordes "Take Me To The River" hat A24 Music nun das vollständige Tracklisting und das Veröffentlichungsdatum für “Everyone's Getting Involved: A Tribute to Talking Heads' Stop Making Sense” bekannt gegeben. Das Projekt wird am 17. Mai digital erscheinen, die physischen Formate folgen am 26. Juli und können ab sofort vorbestellt werden. Die 16 frischen, aufregenden und überraschenden Neuinterpretationen umfassen die gesamte Tracklist des Originalalbums und schaffen neue Inhalte für langjährige Talking Heads-Fans, während sie eine neue Generation mit der Magie dieser Songs bekannt machen. Die brillante Auswahl der Künstler kontextualisiert Stop Making Sense in der populären Musik und Kultur neu, wobei der Schwerpunkt auf der generations- und stilübergreifenden Bandbreite liegt.

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.

‘Road Less Travelled vol.2’ once again brings together the imprints far-reaching community of artists spanning London, Los Angeles, Montreal, Budapest, Copenhagen, Barcelona & beyond. The compilation floats between shoegaze, moody electronics, and shimmering synths; featuring new and original music from the likes of Nourished By Time, Mark William Lewis, and Untitled (Halo). Road Less Travelled Vol.2 sees the label continue to amplify the voices of these singular artists who continue to sculpt their respective sounds. It’s a follow-up to 2022’s ‘Road Less Travelled vol.1’ which was celebrated by Resident Advisor, CRACK, The Wire, Dazed, Clash, NTS, Tom Ravenscroft, and Jamz Supernova.

Scenic Route continues to reaffirm its position as some of London’s premier tastemakers; building a grassroots following via their sell-out live shows featuring the likes of Chanel Beads, James Messiah, Mark William Lewis, Delilah Holiday, and more. Paired with ground-breaking releases including Nourished by Time’s debut album ‘Erotic Probiotic 2’ garnering the coveted Pitchfork’s 'Best New Music' and was widely regarded as one of the ‘Best Albums of 2023’ with features on Gorilla vs Bear (#1), Pitchfork (#5), The Guardian, The Fader, Paste and more. Most recently releasing Vanessa Bedoret’s (Astrid Sonne band mate) debut album ‘Eyes’ in the words of Boomkat ‘a timeless bouquet of raptures and ballads iced with shearing strings and shatterproof electronics’ having additional support from Vinyl Factory, Resident Advisor, Bleep, Nina, The Fader and more.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)

Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)


Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

Shop Assistants formed in Edinburgh in 1984 and quickly gained a cult following, playing with kindred spirits the Pastels and the Jesus & Mary Chain and gaining positive coverage in fanzines and the music press. Their Shopping Parade EP and Safety Net single both hit the top of the indie charts and charmed listeners with their unique melodic blend of punk rock and 60s pop. The band signed to Geoff Travis' new Chrysalis Records imprint, Blue Guitar, in 1986 for the release of their debut album 'Will Anything Happen'. The album has since become a cult classic and is an essential listen for fans of indie, dream-pop, and shoe gaze. Stand-out songs include the lead single 'I Don't Wanna Be Friends With You', 'All Day Long', and 'Somewhere In China'. This newly expanded edition has been remastered from the original master tapes and compiled in collaboration with David Keegan and Laura McPhail from the band. CD 1 features the newly remastered version of 'Will Anything Happen' accompanied by B-sides from the era, plus previously unreleased instrumental demos from 1986. CD 2 contains a further 18 previously unreleased tracks including recently unearthed alternate versions and rough mixes from the making of the album, live recordings from London and Deinze, and a John Peel session featuring a cover version of Motorhead's 'Ace Of Spades'. The discs are housed in a 6-panel digisleeve with a 12-page booklet featuring lyrics and photographs.

Limited edition 300 only cyan coloured vinyl LP, housed in a reverse board sleeve with hype sticker, polylined inner bag and download code. Non-Returnable.
Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.
‘Vertigo’, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Ayler, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra.
From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

Dreamlogic and SW are two standouts in the outlier world of leftfield house music, and they find a perfect home on the equally out-there label that is Kimochi. This is the first time they have been on the same bit of wax (though both have been here many times as solo artists) and hopefully, it won't be the last. There is plenty of unusual rhythm work here with wonky grooves that are enriched with a world of superbly futuristic sound designs. All of these hard to define cuts are serious curveballs that bring a great element of WTF to any set, so do not sleep and add them to your arsenal ASAP.

Original members of Sheffield’s Human League, Martyn Ware and Ian Craig Marsh left after the first two albums
and formed Heaven 17 in 1980. Named after a fictional band in Anthony Burgess’s “A Clockwork Orange”, they
recruited Glenn Gregory on vocals (who had been the original choice for lead singer of the Human League).
Released in April 1983, second album “The Luxury Gap” featured the Top 5 hits “Temptation” and “Come Live
With Me”, as well as “Crushed By The Wheels Of Industry” and “Let Me Go”. The album was certified Platinum in
February 1984 for sales of over 300,000.
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy
and transient information creating an incredibly detailed stereo image with a natural high frequency response.
Presented in its original sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed
in a poly-lined inner sleeve, with all the lyrics and credits plus photos on the 4-page insert.

For the 20th Pleasure Club release we are very happy to present an EP from two core members of the Pleasure Club family - Johnny Hunter & Remi Mazet.

The "Passing Through Fyah EP" comes via the connected mind of both artists, with a record which spans and blurs the realms of house, techno and electro. Characterised by dubwise basslines, cosmic synth work and expert drum programming, this one feels like the perfect way for us to celebrate the two zero milestone.

A big shout out to everyone who has supported the label until now. We really appreciate it <3

VICK LAVENDER produced collaboration finally sees the light of day featuring FRANKIE KNUCKLES favorite ELBERT PHILLIPS, who's made some noise recently with his remake of "TEARS", a DEFMIX classic. A major pairing from house SOPHISTICADO! Don't sleep these will go fast. On colored vinyl.

The all-new Dream Flight label embarks on its first voyage here and it does so in some style. 4:32AM - heavily associated with the Palace Vinyl shop in south London - is presumably named after that specific time in the night when only the deepest and most heady vibes will do, and that's exactly what we get here with 'Mitt Palms'. It's a delightful work of delicate and quiet deep house artistry with ambient pads and dreamy drums. 'Soft August Rain' is just as heady but brings some soft acid magic to the dusty beats and last of all 'Dream Flight' shows off some suburb drum programming with jostling broken beats and woody hits softened by smeared and painterly pads.

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


mid short >>>
Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Stefan Ringer serves up his finest ATL house bounce on this stellar link up with Jazz musician and fellow ATLien Marquinn Mason, pushing their sound into new unchartered territories. Journeying through House, Broken Beat and even a lil' Latin Jazz, the two talents compliment each others styles beautifully. The EP joyfully creates a new dynamic, without skipping a groove or missing a beat. Impossible to ignore on Stefan’s step by step instructional call to the dance floor on title track ‘Bounce Lesson’, a definite delight for the dancers. That bounce then rattles through the EP’s other two tracks ‘alltogethernow’ and ‘Lead Walk', where the grooves get even looser, deeper and more bugged out.

For those unfamiliar, Stefan Ringer is a pillar of Atlanta's electronic music scene and is a long time collaborator with house music OG and NDATL label boss Kai Alcé as well as with Ash Lauryn and Ben Hixon. Under his previous Rekchampa moniker he has released a number of classic EP’s through the infamous Peoples Potential Unlimited label.

Inland Knights’ reputation for delivering groove-centric, melody-driven tracks has made them household names in the house music community. This collaboration not only serves as a nod to their contributions but also introduces their sound to a new generation of listeners through the vinyl revival.

The tracks selected for this special vinyl re-issue are 'The Game,' 'Deep In Original Mix,' and 'Slumming It.' These selections are celebrated pieces within the house music scene, known for their groovy basslines, compelling melodies, and polished production, embodying the essence of Inland Knights’ impact on the genre.

Adding a contemporary twist to the re-pressing, Housetown Records has also enlisted Jake Childs to provide a special remix, enhancing the release with his innovative touch. Childs, whose releases on Drop Music have garnered significant acclaim, brings a fresh perspective to the project, promising a unique listening experience that honors the legacy of the original tracks while pushing into new sonic territories.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

2026 Repress

West London’s Slip ‘N Slide presents a special four-track package on wax for the first time, as Seth Troxler and Franck Roger deliver remixes of the 1997 Blaze favourite ‘Lovelee Dae’. An iconic artist who needs little introduction, Seth Troxler’s name is synonymous with American house and techno of the last two decades, with his formative years in Detroit shaping his sound before moving to the techno capital of the world Berlin. His ventures as a label boss, and with Night Tales, further cemented the talent as an underground hero - he now joins the likes of Carl Craig, Roman Flügel, and Isolée in giving ‘Lovelee Dae’ an expertly crafted remix, building from minimal grooves to a grand and immersive wash of sound. Also stepping up on remix duties is Parisian producer, crate digger and label boss of Real Tone Records, Franck Roger, who adds his signature beat focussed approach to the iconic track. This vinyl package also includes Blaze’s striking original, as well as one of the very first remixes from the late 90s, the 20:20 Vision remix of which used copies go for big money. This is an essential 12 inch EP for any true house fan.

Brian Harden is a second generation Chicago House head, starting in 1995 under the wings of Glenn Underground, being part of the legendary Strictly Jaz Unit. His work on Detroit's Mike Grant and his Moods & Grooves label should also be noted.

One of his most famous works is his second EP on Cajmere's Relief Records, originally issued in 1996. The EP contains some of the most prolific drum machine action ever committed to vinyl and stands for the sound that brought Chicago House on top of the underground Music map in the mid 90s.

All four tunes have been carefully remastered from the original material for maximum club performance!

UK Bass titan and Swamp 81 label boss Loefah makes his Teklife debut with Jump Start, three new tracks full of raw house energy. Taking cues from the Chicago tradition of feral 909 jams, these pummelling rhythms are met with eerie atmospheres and haunting speech. The late ghetto house godfather DJ Deeon adds his touches to the title track, stretching its acid squelches out and taking them even farther into space. It’s pure warehouse music, trippy yet ominous, perfect for getting lost in a dark corner at a rave.

2024 Reissue

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”

With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

DJ Support: Kerri Chandler, Prunk, M-High, Archie Hamilton, Mr.V, Alexi Delano, Laurent Garnier, Okain, Mystic Bill

Dutch House maestro Dennis Quin makes a welcome return to PIV this July with his ‘Treat You Right’ EP, comprising four originals, one of which features LA’s Cheshy on vocals. Over the past ten years Amsterdam’s Dennis Quin has moved from strength to strength and has become globally revered and respected for his raw and powerful productions, racking up releases on Cécille, Ibadan, Dungeon Meat, Eastenderz and of course the leading light of his hometown scene, PIV, where he returns with his latest EP.

Up first on the package is the original mix of title-cut ‘Treat You Right’ which sees Dennis team up with Los Angeles based Cheshy, delivering a composition that personifies the quintessential House sound, crisp 909 drums, fluttering stab sequences and a bumpy bass hook run in unison with Cheshy’s soulful vocal stylings, cinematic strings and shimmering synth lines. ‘Impressions’ follows next and showcases a different aesthetic with a swinging low-slung rhythm section, jazzy leads, marimba lines and bouncy subs to create a more Parisian deep house feel.

Further showcasing Quin’s dynamism as a producer ‘Touched’ then shifts up gears to a saturated skippy drum groove, vacillating synth stabs, a heavy dose of low-end drive and hypnotic vocal chants. Lastly to round out the release, Dennis offers up a ‘Classy Dub’ of the title-track, as the name would suggest stripping out a large portion of the vocals and reshaping the structure of some of the original elements and stirring some additional jazzy elements into the mix.

Damian Lazarus invites Kristin Velvet to Crosstown Rebels for ‘Wasp Nest/Get Down’, featuring and remixed by house icon Fred P. Delivering her first material on the iconic label, the Arms & Legs boss serves up two diverse productions, including a collaboration with Fred P, with the New York favourite also providing two slick interpretations of his own.

Rising to prominence over the past decade as an artist backed by a wealth of support from BBC Radio 1, Australian-born DJ/producer and label boss Kristin Velvet has garnered consistent support from The Blessed Madonna to Fat Boy Slim and Carl Cox, seamlessly blending her roots with influences from her adopted homes across the globe, including London, Tokyo and most
recently, Berlin and Ibiza. Collaborating with Felix Da Housecat while releasing material via Josh Wink’s Ovum Recordings, Cassy’s Kwench and Hot Since 82’s Knee Deep In Sound, plus her own Arms & Legs which she co-manages with Daniel Steinberg, she continues a busy 2024 with a visit to Damian Lazarus’ Crosstown Rebels for the very first time with her two-track EP ‘Wasp Nest / Get Down’ - featuring a collaboration with house pioneer Fred P who also serves up two trademark, deep dives.

Warping and twisting, armed with robust drums and ever-evolving synths, ‘Wasp Nest’ is a trippy excursion through an amalgamation of textures, delivering a driving production with twists and turns at every moment, while the slick ‘Get Down pairs crisp percussion and smooth grooves with Fred P’s iconic vocal for a classy house outing. Delivering his own takes on the production, Fred P’s first reshape is a delightful dive through dubby pads and hazy chords before serving up a cosmic excursion across his ‘Deepness’ reshape to close things in style.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

As deep as it comes, two unwinding cuts of beautiful deep house..

Hand scrubbed textured record sleeve, with custom stamp by Ciaran Birch.

“Escape” from abusive family ties is almost a cliche in modern media. In practice, the threshold for self-informed decoupling from said abuse is often socially out of reach for those that have in fact been abused, both physically and/or psychologically.

We feel shame for even entertaining the idea of getting rid of people in our lives that are joined to us by blood. Instead of genuine mutually-assured connection, we feel duty-bound to them - no better than a minimum wage retail job without which we would become homeless. Had these people been anything other than family, we would have ditched them long ago. I encourage a decoupling from the family unit and giving up on any hope you had for improved relations.

This record has been mastered without compression in an attempt to counter the over saturation of three minute, brick-walled, max-energy production trends in contemporary dance music.

Freerange welcomes back dutch producer Yannick Roberts for his follow up to his 2022 I Can’t Hide From Myself EP. That release gained club spins and chart support from the likes of Dave Lee, Jamie 3:26, Luke Solomon and Fred Everything and became a hit with lovers of deep, disco-influenced Detroit house sounds as championed by fellow countrymen such as Dam Swindle, Fouk and Nachtbraker.

Opening track Grace sets the tone with a chunky groover guaranteed to set the right mood on the dance floor. Next up Yannick picks up the pace with Anyone (This Late At Night Mix) which uses syncopated synth stabs and a simple two note bassline to create peak time energy levels.

Amsterdam Nights keeps things bubbling along nicely with fat 909 beats, piano stabs and intense vocal samples while the EP closes out in fine fashion with All For You. Four tracks which perfectly demonstrate Yannick’s knack for producing quality club tunes.

DJ Mes brings the funk on this new outing on Guesthouse. It draws on samples from some of soulful house's most notable big tunes starting with 'Out of Order' which rolls on deep drums with nice smooth pads and summery vocals adding the charm. 'LGMH' rides on deeper, bigger bass and is a nice loopy and hypnotic jam with classic house vibes and a superb falsetto hooking you in. 'No Memory' is another fat-bottomed and feel-good house groove that rolls deep 'Werkin' Gurl' flips the script with more attitude in the vocals and header drums for some peak time fun but with no less emotion.

BALTHVS is THE premier eclectic & psychedelic world funk trio from Bogotá, Colombia, sparking a counterculture revolution in their home country.

Cause & Effect is BALTHVS's second record. An evolution from its initial chill psychedelic sounds portrayed in 2020's 'MACROCOSM'. Owing to its Colombian roots, the album has plenty of Latin American rhythms, as well as ventures into Deep House, Turkish Music, Vaporwave, Trip-Hop and Disco. Their signature psychedelic elements are always present, ready to engulf the listener in a hypnotic trip across time, space, cultures, and different eras.

The name of the album reflects an ancient hermetic axiom. Nothing is accidental, everything is invoked. Chance or fate are names for a cosmic law not comprehended. Everything you do, consciously or unconsciously will come back at you, nothing happens without reason.

With just two guitars and a drum set, Hound Dog Taylor and the Houserockers created a rocked-out, hypnotic, ultra-danceable sound that is as emotionally powerful and wildly energizing today as it was the day they produced it. This GRAMMY-nominated album was released shortly after Hound Dog's death and features the Houserockers' magic captured "live" in club performances, full of raw energy and high spirits. Over 90,000 sold worldwide. "Natural for partying, drinking and talking loud"--ROLLING STONE

It's already hard to describe what Deerhoof sounds like. So we'll skip that part and say this sounds a lot like Deerhoof with a different singer. And in keeping with 30-year Hoofian tradition, melodies soar, big hit earwigs abound, harmonies are complex, and keys change frequently and unexpectedly. Arrangements are in a constant state of impatient agitation. Emotions run high but delivery is usually a falsetto deadpan. We Sang, Therefore We Were is grief delivered in code. Greg plays everything save for a few birds who join in singing now and again. He keeps the instrumentarium severely limited, the sound shambling and anti-slick. It turns out Greg is a really good bass player and guitar player, if a bit more rudimentary and slicing compared to his Deerhoof bandmates. He does play more angry guitar solos. But don't expect another Chippendale/Saunier speed-drum freakout; the songwriting is gorgeous and sophisticated, and drums are almost an afterthought. Here, song is Queen. The singing is high and whispery, tending towards the three-part harmony. What we're saying is: We Sang, Therefore We Were sounds a bit like Deerhoof fronted by The Andrews Sisters. This is a peek inside the mind of one of indie rock's most celebrated drummers, many of whose fans may not even realize the relentlessness of his musicianship and compositional prolificacy. Mozartian chords and sounds insinuate themselves here and there on this record, finally taking over in a big climax at the end, when the drums break off unexpectedly into a laugh-or-cry orchestral outpouring that ironically may be the rawest part of a very raw album. "Satomi, Ed, John and I were chatting between shows in Austin in early December. They encouraged me to make a record on my own. With no one to please but myself, it came together way faster than usual. It was basically done by the holidays. I had been excited by the announcement that the new Rolling Stones record was going to sound 'angry.' I thought, 'Yes, I'm angry too.' But Hackney Diamonds turned out more like cotton candy than punk rock. So I went back to Nirvana. I always loved the catchy melody over massive distortion, the way their songs refused to conform to simple major or minor scales, the dark sarcasm which still resonates in this age of phony blue-check-washing of fascism." The album cover is all text, penned by Greg on the familiar topic of interspecies absurdist operatic anti-Cartesian revolution. The songs' lyrics are all drawn from this epic poem. White House spokespersons are recast as The Queen of the Night from The Magic Flute, The Queen of the Night is recast as a mockingbird singing all night in a battle for survival, and ultimately the mockingbird is recast as a campy drag artist taking pleasure in her own aggressive, tireless music-making.

2024 Repress

'The Magical World of The Strands' is one of the most accomplished albums of British songwriting of all time. Why every household doesn't have a copy, I don't know. Seriously, I think it's a masterpiece' - Richard Hawley

'Mick Head is a genius' - Noel Gallagher

Michael Head has announced details of the release of his first album of new material in over 11 years.

Recorded under the name of Michael Head & The Red Elastic Band, 'Adiós Señor Pussycat' is released on Violette Records on Friday 20th October 2017.

Beautiful and evocative and recorded in his home-town of Liverpool between March 2016 and June 2017, the album is the culmination of four years of hard work. Equal to his finest moments, Adiós Señor Pussycat will undoubtedly only further cement his reputation as one of this generations greatest songwriters.

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the band’s own Heart Swells record label.

In the band’s words All Hell is an album about…

Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // suburban boredom // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon ///

Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster… (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Now with the release of All Hell, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

Decoy is a 1984 album by the famous jazz musician Miles Davis, recorded in 1983. Robert Irving III on keyboards took over the role that Miles had assumed with a true sense of harmony and only a rudimentary mastery of synthetic sounds and movements. Irving shared the responsibilities of directing with the trumpet player’s nephew Vince Wilburn, Jr., but Al Foster continued to lead the tempo. John Scofield drew the funk of bassist Darryl Jones in the direction of chromatic abstraction. The two tracks that he co-wrote with Miles are fragments of solos: “That’s What Happened” reprising the beginning of his solo on “Speak” (Star People). Decoy offered a good balance between the dominant funk that subsequently took over and the jazz tradition, reflected by Scofield’s angularities, Marsalis’ freedom of tone and the breath of Miles’ playing that had recovered its full power. Decoy is available as a 40th anniversary edition of 2000 individually numbered copies on smokey coloured vinyl, housed in a gatefold sleeve.

The Punishment Of Luxury was Orchestral Manoeuvres In The Dark's thirteenth studio album, but surprised everyone commercially with the first album since 1991 to reach the UK Top 10. The album continued the sound they created with 2013's English Electric. A sound strongly tied to their roots, but this time a bit more stripped down. As Andy McCluskey describes it: ""There’s a little bit more sort of crunchy industrial sound in a few things, a bit glitchty-er. But you know, the bottom line is that have a sense of melody that we just can’t throw off"". Even after almost 40 years, the band are still able to surprise their fans, making The Punishment Of Luxury a must for all synthpop fans. The Punishment of Luxury is available as a limited edition of 1000 copies on blue coloured vinyl. The record is housed in a jacket with die-cut and includes a printed innersleeve.

40 years after its original release, a new and expanded version of ‘Goot From The Boot’ is here to stay! It was 1984 and the newborn Florentine label Spittle Records launched his manifesto, with a killer selection of Italian underground bands verging on the Hardcore/Punk firmament and the New Wave ‘end of the spectrum’. This new version contains three bonus tracks, including “V’Oi!” by Skulls, which could not be included in the first pressing due to a postal delay. Finally we put things in the right place. An essential piece of Italian Hardcore and New Wave history.

The Big Picture is the 2014 studio album by Kat Edmonson, who calls her music vintage cosmopolitanism pop. For the recordings of this album, she collaborated with acclaimed producer Mitchell Froom (Crowded House, Suzanne Vega). On The Big Picture, according to NPR, “she's a savvy student of '60s film soundtracks, jazz-pop stylists and Brill Building songcraft, nodding to her influences at every turn. But her take on those stylized musical languages is so fresh and fluent that the referencing never feels cumbersome."" The album features standout tracks “Rainy Day Woman”, “Oh My Love”, and “You Can’t Break My Heart”, which remain fan-favourites to this day. The Big Picture is available as a 10th anniversary edition of 500 copies on white & black marbled vinyl.

Wiederveröffentlichung des original 2006 erschienenen dritten Albums der schwedischen Hardrock Legende.
‚Astralism' gilt als Klassiker in der Diskografie der Band. Nicht zuletzt wegen solch herausragenden Tracks wie ‚Black Rain'und ‚London Caves', welche bis heute zu den absoluten Fanfavoriten zählen.
Die limitierte Neuauflage in magenta transparentem Vinyl erscheint mit einem Bonus Track sowie neuen Liner Notes von Astral Doors Sänger Nils Patrik Johansson..

Everyone’s favourite Instagram music account is now a label!

Belters4u has been sharing a steady stream of forgotten club bangers over the past few years and now arrives with original material. The inaugural release sees Tre Turner serve up three belting hardware jams straddling 90s euro-house, trance and early prog with a subtle nod to Scotland’s notorious old-school rave scene.

First dropped by Job Jobse at last year’s Nachti Festival, title track" Can’t U Feel" is a feel-good party pumper resplendent with galloping euro bass, gated filter sweeps and catchy pitched vox destined for a festival near you. The two mixes of “Mixed Emotions” on the flip take a hazy, trancier path, keeping the emotion and euphoria running high.

Available on vinyl via One Eye Witness and digitally via all decent platforms.

The Remedy is a classic, soulful house bounce with glossy, sultry jazz infusions - peak Summertime vibes. I also pay tribute to my afro-electronic, percussive roots with Ritual which is the complete opposite of The Remedy. Ritual is mighty on the low end, it's seductive with hypnotic horns, an earth-shaking bass line and a rhythmic groove throughout. This track is an absolute weapon for the club :)

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

Sony Music feiert das 25-jährige Jubiläum des legendären Soundtracks "Bodyguard" mit der Veröffentlichung von Whitney Houston - I Wish You Love: More From The Bodyguard am 17. November 2017. Die brandneue Whitney Houston Sammlung enthält eine großartige Auswahl von Live- und Studioaufnahmen - viele davon bisher unveröffentlicht oder bisher nicht erhältlich, welche die größten Erfolge der Künstlerin dokumentieren. Auf dem neuen Album I Wish You Love: More From The Bodyguard finden sich noch nie veröffentlichte Live-Aufnahmen von Whitneys berühmter "Bodyguard"-Tour (1993-1995), dazu noch nie gehörte Versionen der Musikstücke aus " Bodyguard", ein Remix von "I'm Every Woman", zusätzliche Grafiken und vieles mehr. Das Album wird als CD und digital veröffentlicht.Einige der Höhepunkte des Albums sind ein Alternative Mix von "I Will Always Love You" mit einem gesprochenen Intro von Whitney alias Rachel Marron, eine noch nie veröffentlichte Acapella-Version von "Jesus Loves Me" und eine Live-Aufnahme des nur selten gespielten "Run To You". Außerdem enthalten sind Film- und Live-Versionen von "I Will Always Love You", "I Have Nothing", "Queen of The Night".

TIPP! :)

For the latest Cognitiva release the label present the 4th release of their Point of View series which focuses on dance floor-oriented sounds, this time they invite the marvellously talented Dr. Sud to deliver a wondrous, jazz laden odyssey, which entices as much as it delights - with some expert remixes to boot….
Dr Sud is the main alias of Gregorio Marigliano, an Italian music maker who was raised in Berlin. Marigliano’s music revolves around the principles of Jazz-meets-Dance music, drawing up the rich tradition that has come before in bringing a high level of musicality and ingenuity within his tunes. Moving fluidly between rhythms and feels, as Dr Sud he captures the imagination with thought provoking and captivating sequences, striking a fine balance between depth and danceability. Harmonies and groove play a key part within his music, such as was highlighted on his 2023 EP ‘Heading South’, coming courtesy of the Q1E2 imprint. This record really highlighted his profound abilities and deep set affection for instrumentation but also mood and tone, and it left many waiting for his next release with baited breath.

‘Point of View 4’ continues forth with the supreme feels that permeated through ‘Heading South’, with the key movement onwards being the inclusion of some killer remixes from Gary Superfly, Broke One, Turbojazz and Reekee. Two original cuts, ‘Breakfast Sun’ and ‘Desert Wind’, lead Sides A and B respectively, and do much to help create a distinctive balance and bookend kind of feel to the record. ‘Breakfast Sun’ begins with a wondrous polyrhythm to get things going, a lone vocal sample thrown in for good measure, and before long we are joined by some delicate but hyper precise melodic features. The slow drawn out chords contrast superbly with the short sharp stabs, acting in accordance with the drums, with the first breakdown providing space for the keys to really flourish and take over. The breakout back into the core rhythm allows for a lead synth line to emerge, and provide those bountiful feels we were all yearning for. The remixes do much to add flavour and some diverse alternative perpectives on the original, with the Turbojazz/Broke One remix taking things in a house-y leaning direction, with the hats and kicks shifting the rhythmic perspective towards sun kissed horizons. The Gary Superfly remix however takes things into a much more cosmic space, with a punchy acid line weaving within the underbelly of the track, providing that late night dance feel for club land scenarios.

On the B Side, ‘Desert Wind’ kicks things off, and once again the drums here start us off in a winning space. The groove is so delicate, poised and perfected, and when the first breakdown arrives the chords come into view, and its glorious to say the least. This track focuses on a much more smooth melodic sequence, with a greater emphasis placed on the lead line, but its just as impactful and soulful as the EPs opener. Delicate waterfall style keys shift in and out of view, providing an overall picture of sonic beauty that we can get behind time and time again. To wrap things up, the Reekee remix of ‘Desert Wind’ comes into view, with this track again moving into dance floor realms with a swinging garage beat that feels unstoppable, shifting and moving between the lines with a joyous ease.

Dr Sud may be a producer to keep a keen eye on, with this latest EP certainly doing that sentiment a great level of justice. This EP provides not only two beautiful original cuts from the man himself, but some imaginative remixes that honour the originals and provide us with an record that will linger long in the memory. For home use, down by the rivera, or in the club, this one has the lot…..

2024 Repress

In the midst of House music's burgeoning scene in 1986 Chicago, a young local DJ named Jonathan Gilbert, known as Scrappy, seized a golden opportunity to showcase his skills at the renowned Medusa's Club's video room. It was in 1987, one fateful night, when the main DJ failed to show up, that Gilbert stepped in, securing a residency at one of the city's hottest spots. As the year progressed, Gilbert ventured into music production, teaming up with The Boxx Boys--Jim Marcus and Van Christie, notable for their later formation of the iconic group Die Warzau. Their collaboration birthed the legendary acid house anthem from Chicago, "Freeze," which Gilbert released under his Zap Records label in 1988, solidifying his place in Chicago's music history. The track became a timeless favorite, and is often featured in Jerome Derradji's sets. With Scrappy's gracious consent, we have the privilege of reissuing this seminal track, along with delving into his archives to uncover previously unreleased gems and alternate versions from his Atlantic Records era around 1990. For a brief period, Scrappy rode the waves of Chicago's house scene with his distinctive flair before bidding farewell to pursue new horizons in California. Presented for the first time on Still Music, "Acid House + Medusa's - Chicago, 1987-1992" invites listeners on a journey through the vibrant tapestry of late-eighties Chicago House. DJing, indulgence, romance, and the pulsating beats of acid house defined Scrappy's era, and fortunately, he left behind a legacy of unforgettable house tunes, emblematic of the city's unparalleled musical spirit. This limited edition DLP release, accompanied by an insert detailing the captivating tale of one of Chicago's unsung talents, ensures that Scrappy's story and his contribution to the era remain etched in musical history.

"La Misma Fuente" is an album that could have only come from the mind of Yemanjo, and the music here reveals producer/musician Ben Harris in the full bloom of his artistic promise.

Translating as "The Same Source", the staggering variety of genre, sound design and featured artists here all relate to the concept that the world's diversity manifests out of an essential unity.

With guest singers and musicians from Mali, Colombia, Argentina, Hungary and beyond, "La Misma Fuente" pulsates with an irresistible combination of cracking electronic beats, hypnotic synths and bass, traditional acoustic instruments and vocals in many languages.

In the title track, Yemanjo's own harmonized Spanish vocals roil over a relentless dembow groove; elsewhere Malian vocalist Mariam Koné shines in both the mid-tempo house track "Juru Fô" and the Reggae-meets-Desert Blues anthem "Janfa". The instrumentals are no less captivating; "Bululú" is a combustible club banger with shades of kuduro, afrohouse and zouk rhythms, "Suena La Quena" is a bouyant uptempo house track with soaring Andean flute melodies, "Baobab" mesmerizes with interlocking ngoni licks, and "Bridge to Bamako" is a spacious trip-hop groove that finishes the record like a breath of fresh air.

Thematically diverse, melodically complex and rhythmically compelling, "La Misma Fuente" is a testament to the relentless wanderlust of its author, and a fine addition to the already legendary catalogue of Wonderwheel Recordings.



Ben Harris: sound design, arrangement, vocals, charango, trumpet, digital percussion

Mariam Koné: vocals on #2, #6

Fredy Velasquez: vocals on #5

Alex Nero: guitar, charango on #7, charango, quena, zampoña on #9

Onanya: ngoni on #2

Cosmic Nomad: ngoni on #4

Julia Gyulai: lead vocals on #8, back vocals on #5

Endre Molnar: guitar on #8, back vocals on #5



Mixed and mastered by Chris Cox at Veritas Mastering

Additional record engineering by Akos Varnai

Tetsu Shibuya, better known as simply Tetsu or BRISA is a Japanese producer and DJ known for works on the iconic Japanese Jazzy Sport imprint, King Street sub-label Nite Grooves and his own BRISA Music. Leading the EP is title-track 'Stir', in collaboration with Turbojazz BRISA delivers a classic slice of deep house built upon layers of bright stab sequences and loose organic percussion. Detroit's beloved Jon Dixon turns his hand to 'Stir' next, encapsulating the soul of his hometown in reshaping fragments of the original composition. The original of 'Reverie' opens the B-side, laying down a broken rhythm, low-pitched vocal hooks and elongated bass grooves for a more bruk tinged feel. Byron The Aquarius then extracts the core of 'Reverie' and spins it into bumpy, subtly nuanced house workout. Lastly the third original 'Flux' rounds out the release, shifting deeper in funkinfused realms with a playful plucked bass groove and heavily swung drums.

Oliver Dollar unveils part two of his ‘Contemporary’ EP on Rekids.The release features collaborations with Brillstein and Harvard Bass.

Part two of Oliver Dollar’s ‘Contemporary’ EP will be released this July via Rekids. It follows part one, released in April of this year, which saw him team up with ADMN, Austin Ato, and APROPOS and featured a remix from Brian Kage. With the first part winning support from the likes of Laurent Garnier, Nightmares On Wax, and Dam Swindle, this next EP continues with an equally promising cast behind the wheel, as Dollar brings in Brillstein and Harvard Bass for more irresistible house funk across three tracks in part two.

First up on the ‘Contemporary Part Two’ EP, Jesse Rose, Diplo and Switch collaborator Brillstein joins Oliver Dollar for ‘Pill Popper’, a real dancefloor-igniting underground cut with an unforgettable hushed vocal over infectious rhythms. It is followed by Oliver Dollar and Harvard Bass’ ‘Funky Brewster’, which sees the Tuskegee, Relief Records, and Turbo artist complement Oliver’s house style with signature jackin’ flair. A repeating vocal and hard-hitting drum beat keep centre in this party anthem before Dollar flies solo for ‘Funked Up’, in which a low-slung groove and dreamy, chopped-up vocal work in harmony before breaking down into a jazz-inflected midsection,
making for the perfect outro to a fantastic two-part series on Radio Slave’s Rekids.

Temperature On Arrival. The immediate sensory impact as you enter the venue. The vibe, energy and intensity. The movement of the crowd, the atmosphere of the space, the initial impression when stepping onto the dancefloor. The surge as the music hits you.

Temperature On Arrival is here to deliver the feels and control the climate, with the coldest beats and toastiest grooves. The UK-based duo are set to soundtrack the seasons, kicking off with two scintillating house cuts that resonate within the intimate confines of smaller venues, to the vast openness of clubs and summer terraces. Featuring the soulful vocal talents of London's Deli OneFourz on 36 Degrees and the inspirational Minister and singer, Anthony Hainsley on The Tunnel, with Adrian McLeod on keys across both tracks.

The sunshine vibes are high on '36 Degrees’ as Temperature on Arrival move the mercury, whilst setting the vibrations of the dancefloor. Throbbing drums and a thick bottom-heavy bassline are adorned with chimes, rhodes chords and the velvety vocals of Deli OneFourz. All fused together with a serious serving of bump.

Spirits rise further on the Gospel-infused, ’The Tunnel’, as Anthony Hainsley inspires with his message of perseverance.The track's relentless four-four stomp symbolises the resilience and collective spirit to keep moving, “somehow”, and serves as a joyous reminder of the celebration of dancing together.

TOA, the new tone setters, tastemakers, and temperature takers – and the heat is undeniably rising.

2024 Re Edition
French producer and DJ Nathan Melja returns with his debut album, "With Dan!", out via his own imprint Parodia, the follow-up to a series of breakthrough releases on cult labels Mister Saturday Night, Technicolour, Antinote, Kalahari Oyster Cult and more.

Produced and recorded over the past two years hand-in-hand with his father Dan, a seasoned guitarist and sound engineer, this album is his most personal project to date and holds a true feeling of spontaneity, juggling between genres and driven by Nathan's characteristic unrestrained creative approach.

Over the course of its ten tracks, Nathan gently steps away from his previous dance offerings in favor of exploring new paces and rhythms, while consistently delivering a refreshed take on his trademark hybrid sound palette and textures. On "With Dan!", he embarks an array of local and international friends on vocals, which bring yet another dimension to his rich, at times lush, at others challenging music.

Forget what you know! We don't know nothing!

Moods & Grooves welcomes another talented deep house producer to the stable. BitterSuite's Jon Gray channels his influences into Compulsive Response, an EP of hypnotic synths and mesmeric atmospheres, floating on pulsing drum machines and deeply rooted basslines.

Following BitterSuite's releases on UK labels Situationism and Deep Systems, Compulsive Response creates moods of different shades to vitalize the mind, body and soul. Each of the four tracks sets its unique vibe, driven by a machine groove and steered with the colors of the imagination.

Short Attention Records makes a welcome return here with a new drop of wax that fits the label head into its roots in deep techno sound worlds. This one takes the form of a various artists' EP crafted with an intake feel for cosy floors and who better to kick off in that vibe than the revered Lawrence whose 'Hawser' is a groovy and melodious track. Next, New Jersey don Joey Anderson sets a slow and deep tone with 'Human Kind' which has moody vocals, and Japanese artist Takuya Matsumoto follows with 'Three Flowers', a more potent and driving cut with a fine acid bassline. Rounding off the EP is 'Desired Spring' by R/K, a loop-driven deep house gem designed for both listening and dancing.

2024 Repress

Double A sided release by Basic Bastard! 4 tracks of House infused Technosoul from the master Orlando Voorn!

Little wolfy number yeah? Medlar stepped up before and he’s stepping up again! This time he’s brought a couple of friends along for the ride with the WOLF OG showcasing four solid Deep House cuts with some UK & US flavours. 15 years deep and they still can’t keep us down.

2024 Repress

Great classic and timeless tune of the 80s and French Boogie scene, « Histoire d’1 Soir (Bye bye les galères) » is an ode to party, liberty, youth and freedom, interpreted by Bibi Flash aka Brigitte Gasté, an atypical singer from the French Boogie.

With its light lyrics and mythical chorus, its euphoria and irresistible disco-rap vibe, this track produced by Philippe Renaux (Holly Guns, Clever, Pianola…) released in 1983 is a sincere photography of its time, during which these children of the « summer of love » and May 68 criss-crossed Paris in search of endless nights, pleasure and freedom.

A prized and rare record which is nowadays repressed by Barbecue imprint in 2021, in its 12’’ version, with the original, the Disco Mix, instrumental and the A Cappella, and is accompanied by a new modern and festive edit by French house producer Blutch.

As a bonus, an insert with exclusive texts and photos by Bibi Flash and Philippe Renaux, in a fun and flash universe full of bright colors, revealing the spirit of these good old times.

It’s been said before - in my house, at least - but all the best punk music right now hails from the land Down Under. Stiff Richards, Split System, C.O.F.F.I.N., Polute… that’s before we even get into that ‘Smoko’ band and a whole heap of other mullet-wearing reprobates. To this stack of names, we must add another: Cutters. It’s a raucous squall they make, that’s for sure. Much like setting off rockets at a petrol station, they’re beautifully, terrifyingly explosive - ‘Psychic Injury’ is their second album, following 2021’s gleefully cacophonic ‘Modern Problems’. Much like their aforementioned fellow Aussies, you can trace some of their stomp back to the UK’s 70s pub rock scene, a good chunk of their chutzpah to Chris Bailey and Kim Salmon, and even more to the fact that hardcore feels once more like a re-energised scene filled with purpose and drive (...and other words that rock hacks use to make it clear that certain noises are Really Fucking Important Right Now). They’re among the finest exponents of this stuff and it’s a joy to hear it. With titles like ‘Landlord Nation’ and ‘An Ode To Shoplifting’, it doesn’t take a genius to identify their targets; with lyrics like ‘I’m the first of many suckers’ you can tell they’re not above self-deprecation, even as they rage gloriously about a system that’s rigged against us. The album drips - like an icicle in the Sahara - with righteous rage, and even when that anger feels knowingly futile (“I hate the public / Get away from me”), it’s delivered with such wide-eyed venom that it still feels potent as fuck. Whether operating a top velocity or through brutal rifferama, ‘Psychic Injury’ delivers in spades. Apply it to your ears forthwith

Definitive Recordings revisits 1994 house classic 'Get House' by Calisto with a new version by legend Josh Wink. The iconic house music classic 'Get House' by Calisto from 1994, is now being revitalized by the legendary house music pioneer Josh Wink. Josh Wink, renowned for his pioneering contributions to the Acid House movement, infuses his signature style into 'Get House,' breathing new life into the timeless anthem. The remix pays homage to the roots of electronic music while propelling it into the future, creating an immersive sonic experience that captivates listeners and ignites dance floors with its infectious energy. But the journey doesn't end there. Alongside Wink's groundbreaking remix, the release includes the raw and percussive original version of 'Get House,' straight from the depths of 1994. With a bassline that delves deep into the soul of the dance floor and cut-up vocals interlaced with stiff snares, this track delivers an edgy groove that remains as exhilarating as ever. Remastered for contemporary audiences, the original version retains its raw intensity while boasting enhanced clarity and depth. "I used to rock the original at parties and raves all over the world in the mid-'90s, and it was one of those special records of the time that combined house, acid house, and electro-breaks. It was perfect to segue from different styles as a DJ. One of my favorites on the mighty Definitive Recordings catalog!" says Josh Wink about the original. Adding to the excitement, the release also features the acapella version of 'Get House,' providing DJs and producers with a versatile tool for creative remixing and reimagining. 'Get House' by Calisto, including the Josh Wink remix, the original version, and the acapella, will be available on all major streaming platforms as well as on vinyl.

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

- DJ Romain

Paolo Rocco delivers his ten-track debut album ‘Life In Pieces’ this April on FUSE.

Born Canadian of Italian descent, Montreal-based DJ and producer Paolo Rocco has emerged as one of the most consistent names within house music over the past decade, with a wealth of material via the likes of Hot Creations, PIV, Berg Audio, Constant Sound, Taverna Tracks, and Rutilance Records showcasing his own take on house, deep house, and minimal territories. Having closed 2020 with fresh music on his own RAWMoments imprint, late-April welcomes the arrival of his biggest project to date as he makes his label debut on London’s FUSE to deliver his eight-rack debut album, ‘Life In Pieces’.

A body of work rich in classy collaborations with artists such as Robert Owens, Alix Alvarez, Kiki & Mavi and slick solo production, ‘Life In Pieces’ delivers a blissful journey through Rocco’s rich sound palette, revealing the most in-depth project of his career while marking his long-awaited debut on FUSE in style.

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

Joe Grushecky wuchs in der Kohlebergbaustadt Biddle,
Pittsburgh, auf, aber nachdem er die Beatles in der Ed
Sullivan Show gesehen hatte, hielt er bald eine Gitarre in
der Hand und sah eine Zukunft im Rock vor sich.
Tagsüber war er Sonderschullehrer, doch seine Iron City
Houserockers wurden von Cleveland International (Heimat
von Meat Loaf/Jim Steinman, Ronnie Spector, Ian Hunter)
unter Vertrag genommen. Die Reise der Houserockers
ging weiter über verschiedene Labels hinweg mit
Beiträgen von Hunter, Mick Ronson (David Bowie), "Little
Steven" Van Zandt und Bruce Springsteen.
Jetzt legen Joe und The Houserockers ihr erstes neues
Album seit sieben Jahren vor. Can't Outrun A Memory
enthält 13 Grushecky-Eigenkompositionen sowie eine
fulminante Coverversion des The Animals-Klassikers "We
Gotta Get Out Of This Place". 17 Tracks purer Rock 'n'
Roll, dargeboten von dem am härtesten arbeitenden
Mann und der Band in Pittsburgh. Can't Outrun A
Memory zeigt, dass Grushecky und seine Crew immer
noch die gleiche treibende Musik liefern können, wie sie
es seit Jahrzehnten tun.

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.

It’s been exactly a year since the 6th Borough boys emerged from their hiatus to bring us the Rhythm & Truth EP. This killer three tracker picked up where they left off and showed us that fans of deep, dusty, dubbed-out disco were as hungry as ever for new 6BP material and went on to garner praise from the likes of Jamie 3:26, Luke Solomun, Dam Swindle, Young Pulse and the Faith crew to name a few. Here on their follow up we’re treated to more of the good stuff and sees Craig Smith and Graeme ‘Revenge’ Clark whipping up four new cuts spanning speaker- wobbling sub-aquatic grooves and stripped back deep house.

One Way sets the tone with a subtle yet infectious percussive workout which is one of those mood setting tools which looks set to become a lot of DJ’s secret weapons this summer. Filtering strings and tweaked synths add that classic Chicago energy which won’t fail to get you locked into it’s groove. Spare Change treads a similar path but goes heavier on the echoing synth stabs and deep string pads proving that when the rhythm is rolling this nicely just let it roll.

Flip over for Backlash which takes us deeper still with lush chords and driving square wave bassline taking centre stage supported by an unrelent ing kick drum which helps to keep an intensity throughout the arrangement. Closing out the EP we have The Other, which sees 6BP dropping the BPM’s to create a low-slung slice of deep, underground house perfection.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

X CLUB. is the production duo of Ben Clarke and Jesse Morath. Founded in Brisbane/Meanjin Australia’s warehouse scene and exported to London and beyond, their music is inspired by early 90s techno all the way through to future-facing drum’n’bass, with X CLUB. carving out a space entirely of their own thanks to their authentic and eclectic take on dance music with serious consideration for underlying groove.

With releases on labels such as Steel City Dance Discs, SPANDAU20/CROWDS, 99CTS Records and Stay On Sight, X CLUB. have seen their records reach global audiences with frequent touring across the UK, Europe, North America, Asia and Australia.

New World Expression by X CLUB. is the third release on their own label HIDE THE JUNK, and finds the pair leaning more into house music than ever before, but still with the same distinctive X CLUB. edge. These tracks have been key moments to their sets over the start of 2024, going from demos in the studio to on the road club test in a matter of days, to being pressed onto fresh 12” wax for their most loyal fans within a matter of weeks. This EP is tried and tested house & techno that fans and DJ's alike have come to know and expect in X CLUB.

Super deep issht from Cologne's Good Call on Pegasvs’ highly-reputable label Burnin Music.

The We Play House Recordings / Legends of Gelert / Frank Music artist serves up a classy 7-track LP that spans the sub-aquatic groove of ‘Prince Of Deep’ to the spacious funk of 'What Matters’ and the wobbly electro groove of ‘Let The Others Drink The Ocean’.

There is a sublime atmospheric acid on ‘Rapid Transit’, rugged Detroit synth washes and soulful, dreamy vocals on ‘The Participator’, bouncing deep house and soaring pads on ‘Memory Identity’ and, finally, a colorful synth workout on ‘Speramus Meliora’.

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.

Introducing X-Ray Ted's debut album 'Moving On', a testament to years spent honing his craft and refining his signature sound. Seamlessly blending Funk, Soul, Hip Hop, Beats and Breaks, X-Ray Ted delivers a collection that encapsulates his diverse influences as both a producer and turntablist who is endlessly crate digging for hidden gems. From the infectious opening guitar riff to the final beat, it is clear that 'Moving On' promises an experience that is as engaging as it is dancefloor focused. Each track showcases X-Ray Ted's innate ability to re-interpret vintage sounds from decades past, offering listeners something that is both alluringly familiar and refreshingly new.

X-Ray Ted is not alone in creating his musical vision. He is joined by Hip Hop royalty in the form Jungle Brother's Afrika Baby Bam, Jurassic 5's Fullee Love (AKA Soup), and UK MCs Dr Syntax and Professor Elemental. Adding soulful depth and irresistible hooks to the mix are the vocals from fellow Bristolian Carys Abigail. Together, they effortlessly bridge the gap between retro 60's vibes and contemporary beats, creating something that is truly timeless, celebrating the past while embracing the future.




d 04: Get out the House (Dirty Version) feat. Afrika Baby Bam

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Having been ‘discovered’ working in Liverpool’s Probe
Records during the punk rock explosion of the late 1970s,
Pete Burns found himself fronting his own band,
Nightmares In Wax who mutated into the more familiar
Dead Or Alive, eventually bringing Pete into the UK pop
mainstream, and a star was born.
Bringing together two-self-released 1982 singles and a collection
of early versions of Hi-NRG tracks which would eventually find
their way onto the band’s debut album, ‘Let Them Drag My Soul
Away’ showcases the blossoming of one of the 80s pop scene’s
most colourful characters. Unapologetic, unfiltered, loud and
proud – Pete Burns singularly brought a punk rock mindset to the
pop paradigm, providing a much needed antidote to the sexless
Thatcherite stars beginning to dominate the UK pop charts
during the middle of the decade – this collection of recordings
captures something of that spirit and the energy of the driving
force behind it.
Pressed on deep red vinyl and housed in a cover photograph by
Dead Or Alive’s then manager Francesco Mellina, ‘Let Them
Drag My Soul Away’ presents a last glimpse at a pre-stardom
Pete, and a long overdue back story accompaniment for fans and
collectors alike.

Enjoy The Ride Records is happy to share an exclusive variant of the Milan Records release of Euphoria (Original Score from the HBO Series), Music by Labrinth.

Written and recorded in close collaboration with the Euphoria writer and director Sam Levinson, Labrinth‘s original compositions feature prominently throughout the hit HBO series as a sonic companion to the show’s angst-driven narrative and intoxicating visuals. The resulting 26-track collection is a genre-blending mix of gospel, soul, and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Of the album, Labrinth says, “My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew, and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.”

Euphoria follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma, and social media. The ensemble cast of Euphoria includes actor and singer Zendaya, Maude Apatow (Girls), Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith and Sydney Sweeney (Sharp Objects).

Euphoria is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson (Assassination Nation), who also serves as executive producer.

The Enjoy The Ride Records Exclusive variant, ""Night Sky Blue,"" is limited to 1,000 copies. Euphoria is housed in a silver foil stamped & numbered soft-touch gatefold jacket with spot gloss and also contains a full-color insert.

Repress.

Welcome to “Through Lines”, a collection of hand picked tracks by genre nomad and bass innovator Martyn, made between 2005 and 2015, carefully recovered and remastered for vinyl and digital release on 3024. Previously only available on 12” across a scattering of different labels, this set includes essential ‘Martyn Music’ (as the producer likes to classify it); tracks like “Vancouver” (A 140 staple to this day), “Mega Drive Generation” and his classic remix of TRG’s “Broken Heart”, as well as deeper cuts like the rare “Friedrichstrasse” and house gem “For Lost Relatives”.

This is not just a compilation of remastered music, it’s a document of an era of UK inspired dance music where ideas, genres, tempos and scenes seemed to rapidly merge and splinter off. An exciting time where producers constantly tried to one-up each other with new ideas and influences, in a vibrant international scene of small club nights from FWD>> and DMZ in London to Red Zone (co-run by Martyn) in the periphery, the earliest online forums like Dubstepforum and radio shows like Dj Flight’s BBC 1xtra show and Mary Anne Hobbs’ Breezeblock. Innovation in music never happens in a vacuum and is always a product of community, producers, writers, and other makers continuously inspiring and pushing each other to come up with the next thing. This ethos is present in all of Martyn’s music throughout the years, but also in his work with Jeroen Erosie as 3024 and within the 3024 Mentoring Program he runs today.

Enjoy The Ride Records proudly presents the Don't Fall In Love With Yourself Soundtrack.

Don't Fall in Love with Yourself is a documentary that explores the life of enigmatic musician and artist, Justin Pearson (The Locust, Swing Kids, Dead Cross, Planet B, Head Wound City, Deaf Club). From childhood tragedy to his rise in the San Diego punk scene, Don't Fall in Love with Yourself takes an in-depth look at a career made of blood, sweat, and spit.

Much of the footage has been sourced from dozens of VHS & Mini-DV tapes recorded over the past three decades. With never-before-seen footage of one of the most interesting and unique musical movements in recent memory. Interviews include Justin Pearson, Dave Lombardo, Eric Paul, Gabe Serbian, Jason Pettigrew, Travis Ryan, Jeremy Bolm, Jon Syverson, Molly Neuman, and more.

Don't Fall in Love with Yourself includes tracks from throughout Justin Pearson's career plus previously unreleased score music by Luke Hensgaw (Planet B), Alex Edkins (Metz) and Graham Walsh (Holy Fuck). It features music by The Locust, Swing Kids, Struggle, Crimson Curse, Retox, Planet B, and Justin Pearson/Gabe Serbian. Remastered by Dave Marino for vinyl.

Don't Fall in Love with Yourself is housed in an embossed silver foil laminated jacket, which includes a full-color double-sided insert.