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Texan / Mexican neighbours, the Silver Rider and the Funk District hold hands in disco diplomacy that will break down any wall.

What a time to be alive: 20 years ago, these would have been buried on the b-side, but in 2019 they rock down the house of the largest of clubs.

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Sein letztes Werk "You're Dead" (2014) bescherte ihm eine Grammy-Nominierung, sein Brainfeeder-Label ist zu einem der innovativsten Klanglabors der Welt avanciert, er co-produzierte Kendrick Lamars mit fünf Grammies ausgezeichnetes Meisterwerk "To Pimp A Butterfly" (2015). Nun veröffentlicht Flying Lotus sein neues Album für Warp: "Flamagra" greift alle kreativen Quantensprünge und innovativen Elemente aus 12 Jahren FlyLo-Karriere auf und denkt sie weiter, größer, epischer und universeller: Hip-Hop, Funk, Soul, Jazz, Electro, IDM, die Ansätze der befreundeten Beatmaker aus L.A., Tribal-Elemente, Polyrhythmen. Aber selbst diese Liste reicht nicht aus, um "Flamagra" auch nur ansatzweise zu verorten, weil es immer wieder ausbricht aus diesem Koordinatensystem. Die Gästeliste liest sich wie ein Traum: Anderson .Paak, George Clinton, Little Dragon, Solange, Tierra Whack, Denzel Curry, Ishmael Butler (Shabazz Palaces), Toro Y Moi, sein musikalischer Stammesbruder Thundercat, ja selbst David Lynch ist zu hören. Der legendäre Regisseur steuert ein paar schaurige Worte bei, eine düstere Erzählpassage, mit der er uns eindringlich warnt: "Fire is coming". "Flamagra" ist die Essenz des letzten Jahrhunderts im Bereich der afroamerikanischen Musik, vollkommen neu und weitergedacht, kollektiv gefiltert und feingeschliffen. Auch wenn Flying Lotus ein Nachkomme seiner ehrwürdigen Großtante Alice Coltrane ist, die mit John verheiratet war (wobei auch Miles und Madlib, Dilla und DOOM als seine Vorfahren gelten dürfen), hat er inzwischen seinen eigenen Kult geschaffen: Eine Gefolgschaft, die alles Geniale aus der Vergangenheit absorbiert und in Bereiche überführt, die sich die genannten Vorfahren nicht mal im Traum hätten ausmalen können. Flying Lotus ist zurück. Fire is coming.

Make Mistakes head honcho Roy England teams up with pianist AC Jones to deliver The Shadow Gallery, a sprawling, hypnotic love letter to the dance floor. Music for the modern dance floor, with classic flare, and its heart on its sleeve.

From High On You, to Wayfaring at the end, The Shadow Gallery delivers a cohesive, focused musical journey. But, We Can Make It delivers best on the albums promise. Classic house grooves and bass propel the track forward, with AC’s piano weaving a melodic counterpoint to the relentless dance floor hustle.

While the front half of The Shadow Gallery begs for the afterhours sweatbox, the back half delivers peak hour party cuts for lovers. Anchored in the middle by the title track, The Shadow Gallery, a tune that would sit comfortably in any epic house journey. By crafting such a smooth progression through the collaboration, Shadow Gallery works just as well as sit down, and listen to some true pros bringing their skills together in a way that feels evokes the ghostly spirit of dance music’s past, while creating a modern sound for discerning ears.

Get some.

“We have no idea, now, of who or what the inhabitants of our future might be. In that sense, we have no future. Not in the sense that our grandparents had a future, or thought they did. Fully imagined cultural futures were the luxury of another day, one in which 'now' was of some greater duration. For us, of course, things can change so abruptly, so violently, so profoundly, that futures like our grandparents' have insufficient 'now' to stand on. We have no future because our present is too volatile. ... We have only risk management. The spinning of the given moment's scenarios. Pattern recognition”

― William Gibson, Pattern Recognition

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

Almost four decades since it’s domestic release, Karen Marks’ 1981 single Cold Café has finally reaped it’s deserved international credit to become one of Australia’s most recognised minimal wave recordings. Efficient Space now showcases the Melbourne artist’s brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music). A rarity in the then male dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday and Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom’s opening night. Wednesday and Crash would soon dissolve JAB, enlisting Mark Ferry and Sean Kelly to create Models. Still under Mark’s management, Models became one of the fastest rising new bands of the punk movement, playing to full houses of dedicated and frenzied fans everywhere. Sadly, internal frictions forced Wednesday and Marks to leave after two years, with Crash following three months later. Her creative relationship with Wednesday fortified with the co-production of his 1980 machine-pop prank Love By Numbers, her swooning chorus uplifting his deadpan count to 100, before the two collaborated on Marks’ own recording persona. Immortalised by the icy Oz wave of Cold Café, her Astor issued 7″ also boasted the caffeinated flip Won’t Wear It For Long - a should be hit with guitar from future Icehouse member Robert Kretschmer.

Youthman(29) dishes out his debut 12′’ on TPG, comprised of seven cuts that yo-yo between revamped breaksy house tropes, sample-heavy intricacies and lo-lidded ethereality. Maintaining a fine balance between danceability and daydreaming, ‘Untitled’ holds its listener in a hazed-out hypnagogic state of body-&-mind symbiosis that’s best suited for moments of transition and sense-awakening, when the lights begin to flicker and the club seems to fold up in a strange, otherworldly halo of sorts.

Compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981.

The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time.

This compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. Melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

After a short hiatus Phonica Records revives its deep-house focused Karakul imprint for Harry Wolfman's new 12" 'The Ritual'!

Having produced a dozen 12's for labels such as Dirt Crew, Omena and Outplay, Harry has been honing his craft for the best part of a decade and you can hear how his sound has refined over the past few releases, reaching new heights with this latest record for Karakul.
'SMBC' kicks the 12" off in a laid-back style with its woodwind and brass samples complimenting bright pads and drums, reminiscent of MCDE, while the mellow and sultry 'Eva' is up next.

On the flip 'Obi 1' takes things up a notch both in tempo and energy, working around a lo-fi drum loop and cunningly filtered bassline.
Strings come to the fore halfway through making this a real uplifting gem, the mixture of instrumentation bringing to mind early Pepe Bradock.
Finally 'The Ritual' rounds out the record in a mesmerising way, slowly introducing more and more elements and stirring the pot before fading out again.
An original and fitting way to end the record.

Pontchartrain's second release on home label Lovedancing dives deep into his Detroit roots with two big house tunes that nod to his motor city influences.

1515 Broadway Revisited is a sparkling, chord-heavy track featuring local vocalist Larry Love, made for peak-time play.

Javonntte is up on remix duties with a dark groaning version for the true afterhours feel. On the flipside, 'Head Up' pays tribute to the late queen of soul with a classic house vibe that feels right at any time, but an ending that'll keep you saving it for just the right moment.

Limited edition unreleased 12" containing two italo disco and proto house classics anthems : Who, What, Where, When & Why on the side A and No Promises on the flip side.
Both taken from the Magic Spell Album produced by Mario Boncaldo & Tony Carrasco in 1983, the same guys from Klein & MBO, Plastic Mode, Amnesie and Ris. This unreleased 12" contains for the first time the extended disco versions of these two precious gems taken and re-mastered from the archive collection of the legendary Tony Carrasco.

LGN003 comes in the physical form of a 4 track split-EP of Uruguayan artist Manglus as well as label owner Jan Klub. With a true pioneer of Japanese house and techno culture - AOKI takamasa - on the A-Side & Berlin-based Yoshitaca on the B-Side, each side is featuring one of Japans most exciting music producers on remix duties.

The Juan Maclean Returns To Dfa With A New 12" - Last June's Electrodisco "what Do You Feel Free About" Backed With "zone Non Linear,"
Which Evokes Early Pet Shop Boys. As Usual, Juan's Sunny Productions
And Nancy's Layered Vocals Come Together To Lend A Maximalist Warmth
To The Dancefloor. Man Power (esp Institute, Correspondant) Gives The Aside A Club Rework With A Dubbed Out Vocal Arrangement That Adds A
Touch More Drama To The Track, While Massimiliano Pagliara (ostgut Ton,
Robert Johnson) Revitalizes Tropes Of Old-school Piano House.

Endlessly sampled across the board, for those dreamy guitar licks, killer Rhodes keys and luscious strings, Goody Goody ‘It Looks Like Love / Super Jock’ is a 1978 masterpiece of disco gold. Original copies of the Atlantic Promo 12” sell for upwards of £65 so it’s about time a remastered, officially reissue landed.

Produced by Vince Montana of MFSB and The Salsoul Orchestra fame, ‘It Looks Like Love’ was a Larry Levan / Paradise Garage classic and still commands dancefloors the world over. Flowing flutes, sultry vocals and xylophone twinkles open up proceedings, as those iconic, funk-flavoured staccato guitars and rising strings step up to the plate. Combined they produce a glistening groove that captures the feel-good factor of NYC’s disco apogee.

Delectable disco, fuelled by an undeniable funk that continues to be harnessed, chopped and sampled by some of house music’s biggest players from Nick Holder and Armando, to Tom Trago and Glenn Underground.

On the B side, soul-searching cosmic fluctuations via ‘Super Jock’, with interplanetary vocal refrains stretching out above a full-bodied bass, tight drumming and spacey Rhodes. Montana’s world class arrangement sees bongo-led percussive interludes and dancing keys solos take listeners to a mesmerising galaxy, far far away.

A double dose of that good stuff!

CTHI Records is back again after a little pause given by the development of the Jaxx Madicine project started initially by the label founder Parker Madicine and Turbojazz. Through out this time the label has productively been joined by Veezo, italian pianist and producer, for the making of their Distant Classic album and various EP’s and remixes published on many different international labels as Local Talk, Visions Rec, Dirt Crew and Eureka. CTHI is now ready , after the recent Japanese tour as Jaxx Madicine Trio, to be again the front stream for the debut EP of Veezo ‘Monolith’. An 8 tracks EP playing the essential “manifesto" and inspiring heritage of the artist. Raw and dirty grooves made in 12bit res, tape delays and acid Ms20 arps on top of which you’ll appreciate afro elements, warm rhodes and pad chords allowing you to perceive the whole Veezo musical ambient creativity. Two singing tracks - unique featurings by David Shorty and the Technoir Duo - are providing deep house/boogie atmospheres and jazzy spiritual moods. There are various musicians participating into this project leading through bass, flutes and drums that will surely provide you the feeling of an orchestral setting guided and directed by a solo person inducting all those elements through an Akai taperecorder. The result: close to a mid 90’s forbidden cartoon enriched by the cover of the Japanese artist Tokio Aoyama.

Limited vinyl only release by REVOLT! presenting three collaborative tracks by G.U.S & Dimitris Anagnostou – a contemporary reference to late 90’s UK tech house with steady groove, acid bleeps and ambience.

2023 Repress

A heaven-made match is now complete with Gerry Read's debut EP for Pampa Records. The British producer's distinctively twisted, lo-fi sound, combined with Pampa's deep-vein instinct for quality quirks, ushers in a new phase for two of house music's most celebrated names. The opening bars of 'It'll All Be Over' are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn't to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, 'It'll All Be Over' is immediately memorable and expertly architectured. Read's second cut, 'Satyricon,' is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him. On the flipside, Pampa's figurehead takes an expert turn at the controls of 'It'll All Be Over (DJ Koze remix).' The original's jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.

After S3A's 'Deep Love' contribution last year we are stoked to present you this great collection of music! Coming from the French underground S3A aka Max Fader is absolutely no stranger to the scene. With releases on Local Talk, Quartet Series and his own 'Sampling As An Art records' he is deeply rooted in House, Hip Hop, Disco, Soul and Funk serving residencies at Paris clubs 'Concrete' and 'REX' he has become a local favourite as well with his DJ and Live sets. We are more than excited to release this special debut album that showcases some older and recent work, with live acoustic songs from early 2017 recorded at the Paris 'Red Bull Music' studios to new sample based House and Disco infused tracks in the signature 'S3A' style we got to love so much in recent years. 'Fever", 'Friends, 'Joint No. 5 and 'Greed' are all funk fuelled jams composed by Max, re-played and recorded again in several live jams with fellow musicians Nicolas Taite, Raphael Vallade and Pierre Vadon and edited in the studio by S3A afterwards, they breath this special Soul and Funk love Max got into by listening to 'Masters at Work' and old Disco jams. The latter 'Greed' has a special story, it is a cover of an early 'Laurent Garnier' track that got reworked by 'Avril' in the early 00's, here Max wanted to present his own Jazz and Funk perspective on that same track. The club stompers 'First Day With Lucien", 'Lockwood", 'Clarence J. Boddicker' and 'Leaving 19th' are the true party business on this album and range from Deep House to more classic edit style Disco tracks with live improvisations played on top of them.

Presided by Tom Kerridge, Girls of the Internet is one of a few new projects Kerridge dug into having spent over a decade running labels such as RAMP, Fourth Wave and Brainmath. Providing a break from label life, Girls is a new creative outlet - a full band with Kerridge as producer and band leader, spawning music that pays tribute to a lifetime of collecting Disco and Techno records. Their debut 12" came out on West Norwood Cassette Library, and recent follow up 'When U Go' landed on Derrick Carter & Luke Solomon's label Classic Music Company to sweeping acclaim.

Girls of the Internet's latest single 'Love Delicious' features legendary Chicago vocalist Peven Everett. This single is Pev's first venture into the studio since his standout feature on last years Gorillaz album, 'Humanz'.

On remix duties are Sully, who drops a storming, retro UK Garage version that has been tearing up dancefloors across the country for months, and Saine, who delivers a lush analogue House version.