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The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

*REISSUED ON LIMITED EDITION BLUE VINYL*

London-based electronic songwriter Ryan Lee West aka Rival Consoles to release his most personal work to date in the form of a mini-album titled ‘Night Melody’ through Erased Tapes on 5th August 2016. During the release of his acclaimed full-length album ‘Howl’ and heavy touring in late 2015, Ryan came out of a 13-year long relationship and found himself making music throughout the winter months. The result of his efforts is a 34-minute, 6-track mini album ‘Night Melody’, born out of and shaped by long hours working into the night. It’s nocturnal in sound; mysterious in the way that the early hours so often are.

“I found myself, in a silent home, with the days getting dark very early. I’ve never before in my life been affected by the lack of light so much. I just remember it always being night time. I would either make music into the night, go out drinking with friends, or go to parties and dance into the early hours, every day, week after week, month after month, until eventually the days became brighter again.” The opening statement ‘Pattern of the North’ starts off with a collage of spliced synth melodies, inspired by anxiety that accompanies going home for Christmas. It’s followed by ‘Johannesburg’, an early sketch gradually filled out during his tour in South Africa.


“After playing it around some of the cities, I got a lot of inspiration to bring it to life and push it into something that really moves me. I think this is one of my most colourful pieces of music, with its driving rhythm and almost a homage to Terry Riley’s ‘In C’ towards the end, with a build of very simple, hypnotic parts. I especially love that for over five minutes the piece is tied to just one note. This makes the ending very dramatic, because all of a sudden there is this harmonic change.” ‘Lone’ started life around the time Ryan was working on his ‘Sonne’ EP in 2014. It’s the result of constant adjustments to find the perfect balance of fragility and assurance. As everything on the album, it’s a carefully considered, emotionally mature piece. “I think, as I get older, I need music to represent something and not just sound interesting, though of course the two are connected.” The closing statement ‘What Sorrow’ is a fitting end to the album, building from gentle melancholia to a joyous crescendo. It’s a sensibility that’s central to the record; joy and sorrow both find their counterpoints.


“This record is very personal to me and I hope it offers something for other people, as it helped me to make it and to listen to it. Almost every synth line was recorded intuitively, without perfection but with a lot of intention and expression. I’m not interested in making something sad or making something happy. I want music to be bittersweet, to be more complex, like life – containing moments of vibrant colour and hope, as much as darkness and sadness.” This summer will see Ryan follow on from his recent North American Tour with the appearance at many festivals including Lovebox, Secret Garden Party, La Route Du Rock, Sea Change and Tale of Us-curated Afterlife party at Space, Ibiza.

Ruffy's back with a new four track EP Casita Más Alta and it's a love letter to Ibiza - as he takes us on an alternative tour of his favourite parts of the pine-covered island.

The title track opens slowly, spaced out with motifs and pads washing in like an incoming tide, before charging headlong to the beach with a thumping kick and distorted keyboard solo. In contrast, we get a more sundown feel with Cala Vedella, soaking up the forest breeze and sounding like The Art of Noise but fed through a modulator and left to float in the iciest pitcher of 7Up.

Meanwhile, the rolling congas and percussive synths of Las Cicadas take us deep into tribal territory, Lost Woods style. The EP closes out with Niu Blau, built on beautifully optimistic choir pads and steel pan sounds, and the evening could just go on forever, especially if you've taken any of those power ups. It might be an homage to Ibiza and the Balearics, but seen through the Ruf Dug prism, there's always something new to discover.

Lewis Taylor's legendary magnum opus: The Lost Album. "Now you're talking. That's my favourite LT album. Unlike all of the others, there isn't anything about it that embarrasses me." Straight from the genius's mouth. What can we say about this? Well, it's the most requested record ever at Be With Towers. The Lost Album was the intended follow-up to his first album but Island rejected it for fear of "confusing" the marketplace and its conception of Lewis as a soul artist. Their loss. It's a breezy sunset masterpiece.

The genesis of this incredible record needs unpicking a bit. Lewis stopped promoting the first album after a year and went home to record a completely different record that was the most un-R&B album you could probably ever hear: "I pushed in such an extreme direction the other way with what eventually became The Lost Album. It was a knee-jerk reaction to a perceived ‘trapped in R&B’ feeling I was going through at the time. Some people around me were in favour of it and others weren’t. In the end I think I lost confidence in it and did Lewis II instead." We did at least get Lewis II, which is a remarkable album, and he kept Island happy...for a bit. Not long after, Lewis was dropped. And what was to become The Lost Album could've been...er...lost. Forever.

Thankfully, however, Lewis and longtime partner Sabina Smyth revisited those scrapped demo tracks in 2003. They decided to re-arrange, re-record and then self-release them. So it was that the brand new version of The Lost Album finally dropped in late 2004. It's sheer perfection, and we don't say that lightly. The Lost Album was a fully 50/50 collaboration between Lewis and Smyth. As well as production, Sabina did a lot more writing on it, from the melody to "Listen Here" to the chord sequence for "Let's Hope Nobody Finds Us." Thankfully, Sabina is credited this time around.

No, it's not straight up "soul music" in the vein of his previous work. Yet, in its perfectly formed suite of one dozen songs, The Lost Album is dripping in soul. It's so warm, so effervescent and so alive with possibilities. It features deep, fresh imprints on well-loved, accessible sounds. It's a proper 70s style double album. Just one listen and the musical influences on The Lost Album are fairly self-explanatory, as Lewis recently told us, but it's always nice to hear that, in case we were in any doubt, he was definitely channeling Love, Yes, Brian Wilson, CSN, Laura Nyro and, of course, Todd Rundgren. The influences don't end there: "I’m particularly fond of my bass playing on that album, there’s a lot of Chris Squire going on which is cool."

Deep orchestral opener "Lost" is a sublime, harp-laced, string drenched gem, a cinematic, melancholic Axelrod-esque mini-epic that simply beguiles. Written by Smyth, it evokes Donny Hathaway's celestial "I Love The Lord, He Heard My Cry" from Extensions Of A Man. The only problem is the brief 90 seconds running time. It segues into the classic Brian Wilson-meets-power-pop-rock splendour of "Listen Here" which, with its outstanding extended harp-licked beatless intro, sounds like the younger cousin to Boston's "More Than A Feeling". We then drift into the ringing guitars of classic 70s rock anthem "Hide Your Heart Away". It's Lewis's personal favourite, "especially the multi-tracked guitar solo – I was listening to Boston at the time, which was fun." A-ha!

A new version of the heart-stopping, shoulda-been-a-massive-pop-hit "Send Me An Angel" opens Side B before the arrival of, in Lewis's completely correct words, "the clear standout, "Leader of the Band"; the perfect distillation of everything that album was trying to achieve." Soaring, piano-led Rundgren-esque power pop that makes the hairs on the back of your next stand on end. Truly, otherworldly. This is pure pop for now (and then) people. The simple jangly brilliance meets experimental prog-rock of "Yeah" sounds like simultaneously like prime CSNY and late 90s Radiohead (if they'd had a slightly more accessible bent and could write better tunes).

Oh, you wish The Beach Boys had continued writing amazing songs beyond Holland? Well, allow us to point you in the direction of the downlifting stunner "Please Help Me If You Can" and the warm textures and brilliant atmospherics of goosebump-inducer "Let’s Hope Nobody Finds Us". Words can't really describe the sheer beauty of these songs. So we'll stop trying. Just listen. Listen, listen, listen. Closing out this remarkable side of music, the accidentally Balearic "New Morning" should be blasting out at every sunrise set in Ibiza, this summer and forevermore.

The final side opens with the vaguely Beatlesey "Say I Love You". It's just classic, soaring pop-rock songwriting and should strictly be canonical. It's that good. The sassy, Stonesy swagger of "See My Way" injects enough rock'n'roll attitude to compensate for the rest of record's peace-loving, AOR sun-dappled vibe whilst album closer, "One More Mystery", emerging out of the rubble of the previous track, comes on initially like a Baroque-Pop George Harrison before piling crunching drums and screeching guitar solos atop the dreamy harmonies til close.

When asked what it means to have these records available on vinyl for the first time, Lewis is in no doubt: "It’s great and it’s really nice to be able to offer fans a different listening experience. There’s a whole other dimension with vinyl that taps into that whole nostalgia thing, well for me anyway. Something about the physical aspect of pulling it out of the sleeve and putting it on, it does tend to make you feel like you’re more engaged."

Lewis was adamant that he wanted all new artwork for The Lost Album vinyl sleeve and his brief was just the sort of classic tropical-beach-at-sunset you’d want to see on the front of a record that sounds like this. On the finished sleeve, the beach at sunset is just where we start out, before heading up through the painterly clouds and heading out into the stars. And yes, the lettering is a definite subtle nod to all those in-between-period Beach Boys bootlegs we all love. Simon Francis's sensitive mastering combines with Cicely Balston's precise cut for Alchemy at AIR Studios so the album sounds appropriately outstanding. The immaculate Record Industry double LP pressing will ensure this previously lost masterpiece stays forever found.

Welcoming the inimitable DJ and Producer Dan Shake with his forthcoming EP Verde, set for release on May 26 2023.
Renowned for his infectious charm in the booth and an expert ear for funk, soul and disco rarities, the producer who cut teeth making maximum impact dancefloor groovers is now taking an introspective new direction. Dan was inspired after his relocation to Devon from London where a new found feeling of escapism and appreciation for nature allowed him to experiment with his own sound more than before, including using his own vocals at the forefront for the very first time.

Dan Shake (Daniel Rose-Weir) began his notoriety with the Mahogani Music released 3AM Jazz Club / Thinkin’ in 2014, using Moodymann’s seal of approval as a springboard for his ambitions. Even as dancefloor-igniting releases piled up year on year, such as the Ibiza-smashing ‘Claudia’s Trip’, or any number of Shake Tapes white label edits, Shake’s expertise as a DJ began to match his production chops. This makes for two combined sides of what Dan Shake represents: an explosion of colour, variety and flavour, no matter whether he’s jamming on a rotary in the booth, or juicing fresh joy from old samples in the studio. Basements, lofts, tents, festival stages with the production dialled up to 11 – all are welcome opportunities to let loose. But as his sound has evolved and his reputation as a killer DJ has grown, Shake’s love of connecting to the dancers in front of him has remained, well, unshakable.

Skepta and fellow BBK member Jammer launch house label Más Tiempo, with the pair collaborating for the debut EP ‘Mas Murder’

The release sees the Mercury Prize-winning MC, songwriter, and producer showcase his house sounds ahead of the label launch party at London’s KOKO on 30th April 2023.

Skepta, the influential Mercury Prize-winning MC, producer, designer, director, and founding member of seminal British grime collective Boy Better Know, unveils his new label Más Tiempo on 28th April alongside instrumental LOTM founder and BBK mainstay Jammer, as the pair launch the house-centric project with their ‘Mas Murder’ EP.

Featuring London talents J Kolo and Ossie (Club Bad/Madhouse), the debut EP showcases a first glimpse of the musical direction of the label, with the imprint set to provide a platform for producers to ‘expand their current portfolio range’ - with Skepta building on his iconic DC10 debut for Circoloco last summer, plus forthcoming appearances in Milan, Ibiza and more.

“‘This generation rules the nation, with version’... that really resonated with us for the Más Tiempo journey. Musical Youth sampled on ‘Mas Murder’ was perfect to showcase the way we feel about giving people our spin on house production with instrumentals while paying homage to the ones that came before us.” - Jammer.

Collaborating on the lead cut, Skepta and Jammer’s ‘Mas Murder’ is a low-slung, heady house cut shaped for bustling terraces and built for clubs, fusing crisp percussion, a snaking bassline and eerie melodies for a heads-down effort. Handing over to Jammer, who links up with J Kolo and Ossie, ‘Touch Me’ draws from UK house influences for a skippy, slinking production.

Alongside the EP, Más Tiempo will also take over legendary London venue KOKO on 30th April, with the event being the first standalone show for the collective, having collaborated with The Martinez Brothers and Cuttin Headz at The Beams in December. Featuring performances from Benji B and DJ Maximum alongside sets from both label heads, the show will see Skepta return to the venue for the first time since 2016 following the release of his critically acclaimed LP ‘Konnichiwa’.

Ibiza legend and all round well respected industry man Chris Coco is back with more of his seaside sounds. This time his Mediterranean magic is cast over 'La Guitarra' which as the title hints has Flamenco style acoustics with tropical house drums and heartfelt synths. There is a pair backed and delicious dub also, and then modern disco don Rune Lindbaek comes through with a mesmeric take that is laidback and lush in its design. Last of all is Daniel Braca with a Deep In Brooklyn remix thing brings some fine Latin house styles.

Carla Durisch unveils her debut EP ‘I Just Wanna Dance’ on Crosstown Rebels, with long-standing label favourite and close friend Seth Troxler on remix duties.

An exciting name who looks set for a breakout year in 2023, DJ/producer Carla Durisch is an artist whose passion and deep- rooted understanding of electronic music led to her being marked as a talent to keep an eye on. An integral part of the Swiss electronic and club landscape through residencies at the likes of Nordstern (Basel), plus both Hive and Zukunft (Zurich), her recent explorations within the studio have seen her deep and groove-led style translate into her own productions. These explorations are on display for the very first time as she debuts on Damian Lazarus’ renowned Crosstown Rebels imprint, following appearances at Get Lost in Miami and Watergate Berlin, plus forthcoming Ibiza sets alongside the label boss this summer at Hï.

Led by the captivating words of Nanghiti and Carla’s own vocals ‘I Just Wanna Dance’ is a warping and colourful ride through rich synths, refined drums and bright stabs as it builds and descends across an engrossing near-seven-minute journey. Next, ‘Be The Thing is a stripped-back, hypnotic house effort as snaking percussion merges with sharp lead melodies and further vocal interjections.

Needing little introduction, Seth Troxler’s remix of the title cut is an example of the American at his best, fusing bubbling acid-dipped bass patterns with skittering percussion and surging synth lines for a trippy, late-night take. To close, ‘4AM’ picks up those early hours sonics as crisp claps, echoed vox snippets and dubby grooves take a hold.

Pinky Perzelle, aka Sonny Rooney's debut 'No Games' featuring Eda Eren, is a true labour of love and an ode to his total passion and dedication to multi instrumental record creation without compromise. Almost every instrument was recorded and played by Perzelle at his home studio. Featuring the utterly unique, impassioned and reassuring vocals of British-Turkish artist, Eda Eren, and additional drums from world renowned Malcolm Catto (The Heliocentrics). The lead track is a timeless, heartfelt, funk-ladened portal into a world reminiscent of a cinematic movie scene or an undiscovered gem from another era all-together. The hypnotic 'Remix' from Velvet Season & The Hearts Of Gold aka Gerry Rooney & Joel Martin, introduces subtle electronica and dubbed out instrumentation. A true lesson in after hours, left-field Balearica. Pinky's own 'Electronic Mix' references early house music and broken-beat electronic drums. Showing yet another side of Perzelle's approach to music making.

DJ Feedback

Gilles Peterson:
"Great stuff! Loving the Turkish twist on No Games. Whoooop!"

Dj Harvey:
"Definitely a jam I’ll play in Ibiza for my summer season!"

Francios K:
"I have the Original Mix and love it!"

Tim Sweeney (Beats in space):
"Great job with this. Definitely supporting! Added to BIS playlist."

Colleen Cosmo Murphy (WWFM):
"Now here’s a great new song. A debut song from Pinky Perzelle aka Sonny Rooney. Also a great remix from Velvet Season & The Hearts Of Gold!"

Charlie Bones (Do You):
"Dangerously sexy."

Apiento (Test Pressing):
"A killer song put together with an overall vision from someone that knows where they want to be. An artist to watch. Respect."

Nancy Noise:
"I haven’t stopped listening to it! I mean it! Well done!"

Laurent Garnier:
"Playlisting Original Mix on PBB Radio. Thanks a lot!"

Luke Howard (Horse Meat Disco):
"Bravo, great job. Keep up the good work. Always happy to hear real music with new melodies and ideas!"

Leo Mas:
"Pinky’s Electronic Mix’ is great! Great job, bravo!"

Ashley Beedle:
"I’ll be putting this in August’s show. Sounds wicked."

Jonny Rock:
"This is great! Intense emotion dancefloor bomb! Big up the Perzelle."

Mehmet Aslan:
"Nice ones, I like! Added to Spotify ‘Track ID’s’ playlist."

CC Disco:
"Sick release! Was not what I was expecting. Even better!"

Patrizio Cavaliere (Mixmag Asia):
"A sublime statement of intent."

Bedouin aka Tamer Malki and Rami Abousabe are to release their long awaited and adventurous debut album Temple of Dreams on their own label Human By Default this Spring.

Over the course of the pandemic, Malki and Abousabe spent a great amount of time finalizing songs created in the past 7 years, composing, song writing, singing, and working on numerous projects including collaborations and new originals. Temple of Dreams was shaped from these sessions and captures the enigmatic sound of the versatile, forward-thinking group.

Malki explains that the album looks to “experiment and push the boundaries.” It differs from their previous work, as the album is intended to be a deep listening experience for the fans, rather than a slew of club cuts. The multi-talented artists sought to create a timeless sound in Temple of Dreams. Malki outlines that the album lies between “what we play on stages around the world and what we’re capable of writing and producing as musicians and producers. We wanted to exceed expectations and present something that you might think or feel you’ve heard before, yet it's something completely new and not what might be expected from us.”

It starts with the enchanting sounds and candle lit grooves of Rise And Fall then journeys far and wide through the Eastern string sounds of Coldman featuring Nathan Daisy, darkly alluring vocals and mystic rhythms of Voices In My Head and the hypnotic melodic leads of Crazy feat. Iveta Mukuchyan. Elsewhere the richness of Bedouin's sound makes for spellbinding listening on tracks like Hokema Feat. Delaram and Flore Chico feat. Chico Castillo with its alluring Spanish vocals. Love And Hate is a more dynamic and punchier house cut while Fill The Space is an intriguing mix of melodic magic, authentic instrumentation and smooth rolling grooves.

The musicians, singer-songwriters, and producers in Bedouin have spent the better part of a decade fine-tuning their sound, which draws as much from their Middle Eastern heritage as it does their world travels as DJs playing iconic venues across the globe. They have pioneered a distinctive and timeless sound on some of the world’s most notable labels such as Crosstown Rebels, Get Physical, All Day I Dream, and recently their own imprint—Human By Default.

Select major label releases include remixes for Black Coffee and Virgil Abloh on Ultra and Sony/Universal and as well as calling Burning Man home they have their own iconic Ibiza party, Saga, at Pacha each week of summer, and play major events such as Coachella, Tomorrowland, and Art Basel and venues like Ushuaïa, Wynn Las Vegas as well as a ground-breaking Cercle set filmed in Petra, Jordan.

This much anticipated debut album shows yet another side and the artistic development for this influential pair.

The Mellophonia label offshoot Fusion Sequence won us over with its well-presented and great-sounding first EP, and now a quick follow-up does the same. This one is another various artists affair that starts with some nice futuristic robot disco from Vanity Project. There is more organic and lush Balearic from Bobby Bricks and Pacific Coliseum follows that spine-tingling Ibiza sunset vibe. On the flip side, there is everything from late-night electronic house to lazy disco via Sorcerer's blissed out 'Just For Love' which would entrance any dance floor. There's as much quality as there is variation on this one, which makes it a useful EP indeed.

Damian Lazarus celebrates 20 Years of his world-renowned Crosstown Rebels imprint with a special album project of unreleased cuts and fresh remixes, featuring material from Black Coffee, Maceo Plex, Art Department, Dennis Cruz and many more.

Undeniably one of the most influential record labels within underground dance music, releasing material from Laurent Garnier, Krust and Mathew Jonson to Rósìn Murphy, Deniz Kurtel, Francesca Lombardo and Jennifer Cardini while playing a pivotal part in the careers of artists like Maceo Plex, Jamie Jones, Art Department and Seth Troxler, Crosstown Rebels stands today as a hub and platform for flourishing projects across the electronic spectrum, including via sub-label Rebellion and across a long list of showcases across the globe. More than just your everyday label, the Crosstown Rebels legacy has grown alongside its founder in equal measure, with head honcho Damian Lazarus continually showcasing, championing and spotlighting artists from across the globe who share his radiant, experimental vision for house music and beyond. Ringing in a major milestone in style, 2023 will see the biggest twelve months to date as Lazarus and Crosstown mark the 20th Anniversary of the label with a series of projects set to be unveiled in the lead-up to summer, with ‘CR20 The Album’ set for release on 12th May 2023.

“20 years ago, I dreamed a dream of creating a family of like-minded, crazy individuals from all corners of the planet - releasing music to the world and making people dance. That dream was Crosstown Rebels, and this year we are 20. Over these years, I have forged beautiful friendships, discovered very talented artists and tried my best to help, advise and support some of the most colourful characters in dance music. Crosstown Rebels is more than a record label, it is family.
So 2023 will mark the label’s 20th Anniversary. This is an opportunity for the Crosstown Rebels family, a global community of artists, DJs and creatives, and the label’s myriad of followers to celebrate this momentous milestone. There will be parties and events around the world. A killer compilation of exclusives and special remixes, a beautiful coffee table book, a short film, and a special launch event are planned to bring together the sights and sounds of the label’s unique and influential history. There’s lots to share, announce and reminisce. 20 years young.” - Damian Lazarus.

Comprised of six stellar, high-profile remixes of releases from the label’s catalogue, alongside two previously unreleased original gems, the eight-track package is a rich and exemplary showcase of the far-reaching corners of the Crosstown Rebels sound and also its globally connected family of artists and close friends.

Opening the package, Lazarus’ own 2020 collaboration ‘Into The Sun’ with regular Crosstown vocalist Jem Cooke is given a cosmic rework by Johannesburg’s Major League DJz, while Jamie Jones’ slick ‘Paradise 2011’ is stripped back and given a new lease of life by the hypnotic and heady sounds of Art Department. Opening the B-Side, Dennis Cruz brings his percussive Latin-infused signature sound palette to Chilean musician and producer Pier Bucci’s ‘Hay Consuelo’, before Audiojack’s ‘Feel Good’, another standout collaboration alongside Cooke, is taken into synth-led territories as Michael Mayer reaches for an evolving bed of captivating tones.

The second half of the project brings more excellently remixed material, both new and old, with GRAMMY-winning DJ/producer Black Coffee turning his hand to the label’s first release of 2023 in Made By Pete and Zoe Kypri’s emotive ‘Horizon Red’, unveiling reworked melodies and sparkling keys as he delivers an interpretation of a track which has featured as a staple in his sets. Next, the project welcomes Adam Ten & Yamagucci’s playful yet off-kilter and wonky ‘The K Dance’ which unveils itself as a production perfect for those late night hours and early afters, before Ellum boss Maceo Plex’s ‘Together (2011 Mix)’ brings another lost production to the mix with a driving and zipping ride through sugary synths and soaring leads. To close, Tibi Dabo turns his attention to Guti & Dubshape’s absorbing ‘Every Cow Has A Bird’, delivering a nimble minimal-led trip through lush pads and crisp percussion to round things out in style.

Alongside the album, the 20 Year celebrations will also welcome a 192-page hardback book, ’20 Years Of Magic, Madness and Music’, with words from renowned journalist and key underground music player Joe Muggs, and a feature-length documentary directed by acclaimed director David Terranova.

Crosstown has become known globally for throwing some of the world’s best parties, from the wondrous cultural journey of Day Zero Tulum to longstanding Music Week marathon Get Lost Miami. This ethos of creating magical dancefloor moments spills into the label’s 20 year celebration with its worldwide Get Lost tour, launched with Get Lost Miami, and followed by Bali, Tokyo, Ibiza, Dubai, Istanbul, Rome, Paris, London, Berlin and more, plus a special to-be-announced London showcase.

Manda Moor hits back-to-back releases on Hot Creations with her Picante EP, accompanied by a remix from Hot Creations artist and Mood Child co-founder Sirus Hood.

It’s safe to say that the past 24 months have seen Danish/Filipino DJ, producer and label founder Manda Moor surge onto the international house scene with a combination of stand-out releases alongside sets at the likes of Hï (Ibiza), The Beams (London) and Club Space (Miami). Having made her debut on the label with the excellent ‘The Climax’ EP last year, she returns to Hot Creations almost a year to the day with her latest EP as she brings the heat once again with her ‘Picante’ EP - with fellow Mood Child co-founder Sirus Hood joining on remix duties.

A bubbly and playful title cut fusing rolling drums, vibrant vocal interjections and a slick groove to bring plenty of energy, ‘Picante’ takes cues from its title to bring a zippy production made to make crowds move, while Sirus Hood’s take lays a focus on snaking drum grooves as crisp organic percussion arrangements take a hold. In keeping with the theme, the EP is rounded out with another dynamic effort in the form of ‘Tabasko’ as Moor fuses more lively and hard-hitting drum grooves with sweeping bird noises and further vocal samples for another helping of dancefloor energy.

Adam Beyer kicks off 2023 with a huge future classic, ‘Legend’.

Since his Ibiza studio was completed, Adam Beyer has been on an inspired production run. Highlights over the past year include a tight three-tracker 'Dirty Lagoon' which dropped in March, followed by a standout remix of Sam Paganini's 'Rave' with Layton Giordani during the summer. ‘

‘Legend’ has all the markings of a future classic, driven by a hypnotic synth line, silky pads, chants, and a truly memorable build and drop that’ll make it a highlight of any set it features in. A special contribution from the boss.

Volume 7: most iconic reworked, retouched, and edited tracks out from the unique and magic poolside of Pikes hotel (Ibiza). Jazz n palms is the brand commissioned to warm the monthly exclusive Ronnie Scott’s (London) jazz concerts.

Jazz music fused sartorially with Latin, funk, rock, and international sounds to be enjoyed under the palms and the sun of the Mediterranean Sea.

New Dailysession stuff for the advanced dancefloors with 4 steamy disco belters. Jacks up another create diggers gem for a storming disco house rework...

It's good to have this one available again. Dorothy Moore's 1976 soul classic 'Misty Blue' became an Ibiza chill-out anthem in 2002. As 'Misti Blu' it got high-profile plays by Mary Anne Hobbs, Pete Tong and Mixmaster Morris and even David Mancuso charted in his end-of-year highlights. Now the sundown gem gets reissued here on a tidy 7" as a superb rework from Claude Money. The crooning vocals remain the highlight with sultry trumpets and lavish downtempo rhythms. What's more, we're told that a new live disco and house version are also to come this year.

Without a doubt, Kiriku is the hottest upcoming producer of contemporary Balearic Beat music of this year.
Kiriku lives between London and Ibiza, two poles which are well audible in his versatile style, ranging from
groovy Downtempo to clubby House. Uplifting Balearic atmospheres meet jazzy club vibes, featuring loose
drum programming, jazzy chords, bouncy basses, laid back vocals and sophisticated sampling. From song
structures to straight up club track, his tunes always combine electronic and acoustic instruments, which
results in a throughout warm and organic feel.

His new EP for The Magic Movement is co-produced and mixed by The Magic Movement' label head
honcho Noema, who gave "Washingtonia" an extended balearic club treatment. If you liked Dj Gregory's
"Elle" back in the days, this will be right up your alley. "Santa Rita" features the vocalists Monblume , Yalisaxx on Saxophone and comes with an bouncy uptempo club version of Brazil' own Kurup. "Jacaranda" features Hallyx on Vocals and is accompanied by a remix by no one else then legendary Balearic Beat DJ, poducer and label owner Chris Coco, who gave the track a dubby and extended chill-out sunset-sound treatment. Smell the sea, and feel the sky. Let your soul and spirit fly!

Matador makes his debut appearance on Crosstown Rebels with his absorbing new EP ‘My Yellow Coat’, accompanied a remix from NYC house and techno favourite Levon Vincent.

An outstandingly technical live artist, DJ and producer, Matador, real name Gavin Lynch, has a prolific discography with releases on renowned labels such as Minus, Hot Creations, and Cocoon. A resident at Richie Hawtin’s iconic ENTER series in Ibiza, the past decade has seen the Irish talent tour the globe consistently with performances at some of the world’s most prestigious festivals and clubs, including Awakenings, TimeWarp, and Neopop, while featuring in Resident Advisor’s ‘Tip 20 Live Acts’ on three separate occasions. ‘My Yellow Coat’ marks his first appearance on Damian Lazarus’ Crosstown Rebels, describing the debut as “a result all round” with the imprint featuring as a personal favourite of his over the years.

The EP features two original tracks, ‘My Yellow Coat’ and ‘What You Say Is So’, showcasing a dynamic approach to electronic music with a deep dive into rich beds of emotive and spellbinding tones. Title track ‘My Yellow Coat’ is a slow-blooming and delightfully suspenseful production guided by the track’s charming vocals as soft synth melodies and refined percussion build gracefully across its eight-minute duration. . Novel Sound boss Levon Vincent’s dynamic interpretation of the title cut welcomes a new side to his expansive sound, building on his distinctive sound palette and welcoming a shift towards faster realms.

Red Vinyl

Super smooth and funky 2 track EP, limited red 10 Inch. UK Duo Flying Mojito Bros have their unique sound, mixing several US styles together to make their own brand: Disco, Westcoast and Swamp/Stoner Rock become: Swamp Disco! (side b of our release is an edit for none other than the Grateful Dead!) They have a huge following and just released their debut album. The duo has their boots firmly planted in dusty 70s sunsets, their pan-USA productions take cosmic country funk and rock to modern dancefloors via NYC latin disco and baggy acid house - on a bed of hefty contemporary rhythms. Their music has turned party people loose in clubs, parties and late-night festival tents at Glastonbury, Bestival, Pikes Ibiza, Austin City Limits and beyond. In addition to residencies at The Social, Spiritland and Nobu, they've been invited to work their hoodoo on remixes of Flamingods, Raf Rundell (The 2 Bears), Black Peaches, Jouis, 77:78, Scott Hirsch, James Matthew VII, Katy J Pearson, Jeffrey Silverstein, Rudy Norman and more - releasing on prestigious independent labels such as Heavenly, Paper Recordings and Ubiquity. The Flying Mojito Bros have seen over a million streams worldwide and a mushrooming US fanbase.

Shahrokh Dini delivered two top notch EPs in 2022, “Now We Can Dance” w/ Illinois and “Ubuntu”. After gathering some decent remixes, a proper vinyl release became self-evident. Here we go now with splendid re-works by the likes of Lehar, David Mayer, Omer Tayar, Tooker, Kovi, Patrick Zigon and Apoena. A superb package!

Shahrokh Dini left Karlsruhe, while he is even more active than ever in his old and new basecamp Berlin. Not even that he played a lot of nice gigs during summer (Amsterdam, few times on Ibiza, lot of gigs in Berlin, Italy, Corfu, Sardinia), he is also busy in the studio with several releases and remixes (btw.: one for Compost artist Felix Laband). “Now We Can Dance” with the strong and lovely vocals by Illinois is a contemporary house smash with an 80ties indie dance twist. Shahrokh met Illinois at the Garden Of Babylon parties, where Shahrokh is virtually the resident DJ, too.
Further we have stunning remixes by Lehar (Diynamic Music, Connaisseur Recordings), David Mayer (formerly Keinemusik, Ouïe), Apoena (Freerange), Omer Tayar (The Gardens of Babylon/Tel Aviv), Patrick Zigon (Biotop, Traumraum), Tooker (Ouïe, Crosstown Rebels), Kovi (Compost, Frau Blau).

Shahrokh Dini has a long lasting release history, among them a lot on Compost, also under his moniker Shahrokh Sound Of K. Check both his discographies on Discogs.

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight and dance music royalty, Armand van Helden, a fresh new edit of a revered club weapon from Julio Navas, Gustavo Bravetti and David Amo, Kiss FM regular, majestic and Sydney-native Alex Preston.

Up first label boss, Mark Knight enlists Grammy nominated Armand van Helden for their debut collaboration, 'The Music Began To Play'. Kicking off with a hard-hitting house groove and electrified bassline that drives the record, before dropping into the track's golden moment and sampling the 1979 classic disco cut 'I Don't Need No Music' by T.J.M; a gem of a record that encapsulates both Mark and Armand’s love for classic cuts.

Next up, a record that became a cult hit of the underground and one that defines the true sound of Toolroom's heritage, Julio Navas, Gustavo Bravetti and David Amo’s 'Raw'. Refreshed for 2022, we see one of France's hottest exports, Tony Romera, deliver a high energy, club focused remix of 'Raw', bringing the classic club record back to dancefloors and sound systems across the globe!

Up next is another heater from Majestic, who debuts on Toolroom with ‘Annie’. Recapping one of the hottest summers on record, Majestic embodies the Balearic, Ibizan heat, sampling Kid Creole & the Coconuts 1982 hit, 'Annie I’m Not Your Daddy', turning a slice of calypso / disco, into a club ready record for the dancefloor. From the brass melody to the hooky guitar riff, majestic lays down his signature style with a Groove Armada-esque vibe throughout.

Rounding things off is label favourite, Alex Preston with his unique blend of 4 to the floor dance music and live funk guitar riffs that have swept through clubs, moving feet, and bringing those feel-good vibes. Ticking all the right boxes on this one, 'Hunching' kicks off with its infectious groove and bassline, throwing in some lush strings, guitar flits and an 80's inspired saxophone break that adds some serious flavour to the record.

Kai Rodriguez makes his debut outing on Hot Creations, delivering his two-track ‘The Thrill’ EP.

With his late-2021 Hottrax debut ‘Underground’, DJ/producer Kai Rodriguez gave the house scene a first glimpse of what’s to come with the 25-year-old UK talent’s breakthrough release remaining in heavy rotation for head honcho Jamie Jones across the Ibiza season and beyond. Having since featured on bubbling US imprint Revival New York, he steps things up a level as he reveals his first material of 2023 and his Hot Creations debut with ‘The Thrill’.

Lead track ‘The Thrill’ harnesses the iconic vocal known across the globe but switches things up, contrasting the vibrant tones with murky low-ends and metallic percussion for a no-nonsense cut main for main rooms, while ‘Sum’ Bout’ takes a drum-driven path as skippy hats and warped snippets ebb and flow amongst the mix for more peak time material.

WAX series of 12+1 London (TPO) first artist doesn't need introduction, Alex Arnout, for those still do not know this iconic music selector from U.K., he started his DJ career in Spain, and in the humble surroundings of many a local bar. The nineties were spent learning the basic skills so often lacking in today's break-through 'DJs'. Eventually catching the ear of someone that mattered, Arnout began playing more familiar outposts like DC:10 and Pin Up in Ibiza, Dance Valley in Amsterdam and CircoLoco in London, for whom he has been resident for the last few years. This is just the beginning of more than 20 years of history. Higher Orbit is his last work, an EP including three original tracks, 'What I Mean', 'Aabstrkt Mind' and the main hit 'Higher Orbit' also remixed by the head-honcho of the imprint U Z Z V.

NuNorthern Soul may be Ibiza-based, but the label’s connections with Nottingham run deep. Over the years, Phil Cooper’s imprint has offered up countless releases and remixes from some of the East Midlands’ city’s most Balearic-minded residents, including Crazy P’s Jim Baron, Is It Balearic? chiefs Coyote and, most recently, Constellations Workshop associates Brown Fang.

You can also add to that list Torn Sail, a collaboration between Brown Fang members Jon Thompson and Henry Scott, and another Notts-based NuNorthern Soul contributor, Huw Costin. The trio’s mesmerising ‘Disconnected’ recently featured on the label’s deluxe 10th anniversary vinyl box set and now they return with a single credited to both Brown Fang and Torn Sail – the first such occurrence of that happening.

Those who heard Brown Fang’s brilliant mini-album, Sherwood Pines, will immediately feel at home. Both ‘Exit’ and ‘Endless’, the two tracks showcased on this fine single release, feature the same gorgeous, slowly shifting fusion of sun-kissed electric guitar textures, ambient atmospherics and immersive, sunset-friendly sound design.

First up is ‘Exit’, an undulating, slow burning delight where rising and falling electronic melodies and yearning, gently jazzy electric guitar motifs rise above a sparse, shuffling, subtly Latin-tinged drum machine rhythm and warming bass. Endearing, enveloping and endlessly attractive, the track seemingly blossoms in slow motion throughout its’ three-and-a-half-minute duration, with additional musical elements presenting themselves as it progresses. Even by the trio’s high standards, it’s a magical composition.

On ‘Endless’, the long-time collaborators explore their love of mind-soothing ambient soundscapes. Doffing a cap to the 1970s new age ambience of Steve Hillage – whose distinctively languid, stretched out, effects-laden electric guitar solos were undoubtedly an inspiration –Thompson, Scott and Costin deliver a becalmed and brilliant dream-scape full of hazy aural textures, drifting chords and gentle, eyes-closed vocalisations. It feels like a loved-up, smile-inducing evocation of the most visually stunning dawn you’ve ever ushered in after a night dancing under the stars.

‘Horsepower’ marks the Dutchman’s third credit on Drumcode this year, following a strong collaborative work with Weska ‘Shades of Summer’ and the new remixes of ‘Your Mind’ from Charles D, his classic with Adam Beyer from 2018. Bart’s also been busy throughout the summer season, a fixture at our Off Sonar, Drumcode Miami and the Drumcode Ibiza event

His latest two tracker continues this reach vein of form. The title track is vintage Bart Skils; a searing festival-ready bomb built around a dreamy vocal sequence and long mid-section break that drops back into stomping techno territory. ‘Sunshine in the Dust’ brings the party with lively percussion, flamboyant vocal samples and tough bottom end. A super fun track bursting with Latin flavours.

Welcome to another fine episode of SIRS aka »Sounds in real Stereo«! After last years' arrival on LARJ with his »Arrived EP«, Berlin based versatile DJ & producer Daniel Klein is back with »Travel To HDF.Y3D« - an utopian (or more likely dystopian) ode to space travel:

The last few remaining humans are traveling with 140bpm to the most distant galaxy in the universe on a mission to seek out a new space for mankind to live after many years of exploiting good old Mother Earth. What sounds like a horror scenario if you start thinking about it, SIRS manages to wrap up in quite a positive musical message. Thus »Travel To HDF.Y3D« becomes that hopeful uplifting slightly dreamy tune we all need these days - not unlike Christian Bruhn's theme of a certain Captain called Future back in 1980 …

It's also nice to have two more versions of such a strong tune at hand: The first one is a true first one for »Cocktail D'Amore« DJ BUDINO as she comes up with her first remix and production work ever. Budino's approach is a slightly darker, maybe indeed more dystopian one. The synthesizer bass lines dominate her remix and by getting rid of the original's playful melody she creates a very special melancholic feel.

Leipzig based PANTHERA KRAUSE's take isn't quite that different from Budino's as he too focuses on the darker vibes of this journey in space. It's his added extra dose of punch that surely will keep dancers on the floor for sure.

The former »Space Ibiza« resident SIRS now takes over the controls again with »Summer Desire« which too is destined to rule dancefloors not only in Ibiza but all over the world with its lovely airy vibe.

»Travel To HDF.Y3D« returns for one last time in form of the spoken word prolog - a nice extra tool to play with.

Music For Dreams signal the summer with the debut LP from Ibizan royalty DJ Pippi & Willie Graff, released digitally on May 27th with the physical version following on the 8th July. The latest bounty from the Danish label’s long and fruitful relationship with the White Isle, Follow Your Dreams is a twelve plate tapas packed with the assorted styles and flavours of the Balearic sound - a complex blend delivered with a warmth, feeling and tone which bring it all together as a whole.

Collaborating on and off over the past fifteen years, with resulting singles gracing the likes of Compost, Leng and Archipelago, DJ Pippi and Willie Graff posses a unique combination of Balearic heritage; one an Italian export who helped originate the sound and style of the genre through his legendary DJ sets at the likes of Pacha and KU in the eighties, the other a trailblazing talent born on the island, who started his residency at Pacha in summer 2000 at the tender age of 17. Their intergenerational entente speaks to Pippi’s unyielding passion for sonic progression and the musical maturity of Graff, as well as a shared love of the soulful side.

black repress !

Everyone's favourite Italian duo Micky More & Andy Tee joined in full force with house music icons Cevin Fisher and Roland Clark. The Logo side sees ‘All About The Culture’ feat. Cevin Fisher, a track doused in live bass, fiery grooving Rhodes chords and spoken word lines that shines a light on the freedom of expression and liberation found through the culture of house music. Already tested on the dancefloors of New York, London And Ibiza this track is ready to become a future classic!

Flip it to find ‘The Rhythm’ feat. Roland Clark; a groove heavy concoction of live instruments from strings and guitar, to keys and bass that come together tp create a warm, uplifting, funk-disco-house heater topped off with those spine tingling spoken word vocals. A timeless original production.

Repressed on Black Vinyl.

DJ Support:

The Shapeshifters, Hector Romero, Terry Hunter, Seamus Haji, Quentin Harris, CJ Mackintosh, Quibiko, Northy Cotto, Double Dee, Roog, Dr. Packer, Angelo Ferreri, Kenny Carpenter, Benji Candelario, Dj Disciple, Dj Pope, Luis Radio, Richard Earnshaw, Lenny Fontana, Dj Pippi, Marco Fullone

Moiss Music is dropping two slabs of heat this month - their sixth and seventh EPs overall. Both are various artists' collections with plenty of 'floor-facing disco fun. Mathew Ferness opens this one with 'Paradisio' which has plenty of inspiration taken from late afternoon dances somewhere like Ibiza. 3kelves & We Are Neurotic get you working your feet with the busy percussive grooves and squelchy synth funk of 'Laguna Reservoir Funk' while Naux brings lots of loopy fun and throwback vocal goodness to his steamy 'Foxxy Cleopatra.' Partner Music rounds out the EP with the most energetic and busy of the lot - the restless melodies of 'People Should Romance.'

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label. The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Techno trailblazer Amelie Lens presents her new EP 'In My Mind' on her own Lenske imprint, containing three explosive techno tracks.

Belgium's Lenske Records presents its next EP from label head Amelie Lens. The release marks a considerable high point of Lens' career, hot on the heels of the launch of her radio show and dropping just before her debut Ibiza residency with sister label EXHALE. 'In My Mind' will mark Amelie's first solo release on the label since 2020 and follows her collaboration with Airod on 'Raver's Heart' EP late last year. The EP also was inspired by electrifying visuals that Amelie takes on the road and showcases at selected gigs.

Title track 'In My Mind' opens proceedings with blasts, bangs and heavy reverbs whilst Amelie's voice swirls above. The build-up gives way to furious claps, and spiking synths that continue to dance around the vocal sample in a ruthless march. The beat is unrelenting with a venomous, pulsing bassline that creates this raw and atmospheric techno cut, while bubbling keys maintain vitality and lightness with their careful arrangement.

Multiple elements come into play for subsequent track 'First Light'. A stripped back kick synchronizes with distorted pads for the opening, soon accompanied by a heavier kick-drum counterpart and lick of acid to inject some sharpness. The true DNA of the track is the programmed claps and dark pads that rise and fall menacingly throughout, as splashes of effects are thrown into the mix.

Final track on the record 'Trippin'' undoubtedly packs a punch. Blasting off with a dominant kick and oscillating spring reverb that swipes through Amelie's wistful vocals, the harder elements gradually succumb to the softness of her voice. The listener's focus is momentarily shifted during an early breakdown before the kick returns with more vigor accompanied by hurried hi-hats and distortion that sends you into a frenzy.

Space Dimension Controller’s first release in 2023 is also his first outing to Running Back. Needless to say that it pushes all the right buttons. Warm and playful, but forcing and with fresh jive, Neuclidea and its siblings revolve around classic SDC values. Nevertheless, the Irish melodist is also moving on to new pastures. Hardware sequencing, vintage digital synthesizers via analogue processing spawn a sound that pirouettes as much around the lost cyber-hippie poetry of Border Community as it’s the effigy of fast balearic euphoria – if Ibiza would have been a party scene in Gattaca. Completing this treasure chest is a remix by Hodge for the pragmatic minded out there. Using some heavy drums of the west, his version of Neuclidea extracts the trance-like elements of the original and turns it into a floor-polishing brush. To sum up: music for heartbroken and lovesick victims alike.

People often ask why we started Soul Clap Records and I usually answer: “because we were receiving tons of unique demos by creative artists that we had to start a label.” 11 years later and that flowing faucet of incoming music is still the driving force behind the label. Sure, there is the Funk, House, Disco, and multi-cultural influences in all of the music that we release, but it’s always the artists themselves who guide us.” – Eli Goldstein (Soul Clap)

Having nurtured a community, built many a life-long relationship and brought together an extensive musical family over the past 11 years, Soul Clap showcase these deep bonds with their 11th Anniversary Remix Compilation across two 12 inch records in a beautifully designed picture sleeve. A real smorgasbord of flavours and feelings, from beaming boogie and dizzying disco to blissful broken beat, house and downtempo nuggets coming courtesy of a plethora of the finest artists on the planet right now including the likes of Zopelar, XL Middleton, Colleen 'Cosmo' Murphy, FSQ and many more, alongside the mighty Soul Clap themselves. There’s no denying that this compilation is one with community at it’s core.

DJ Feedback:

OSUNLADE / YORUBA
Very funky.

PABLO VALENTINO/ MCDE FACES
Love this comp

CROSSTOWN REBELS/ PAOLO BARTHOLEMEW
Oh yes! Big fan!

FRANCK ROGER/ REAT TONE
Dope compilation.. still in love with life on planets guy :-)

MR V/ SOLE CHANNEL
Dope. Love it.

AROOP ROY
Diggin the remixes from Zeynep, Cosmodelica, Zopelar and Charlie.

PONTCHARTRAIN/ WHISKEY DISCO
OH my, that Afriqua remix is absolute fire! Whole album is hot.

DJ ROCCA
All the remixes are great. Big fan of SC records, of course ;-)

THE SILVER RIDER/ MUSIC IS 4 LOVERS
Holy crap that Zopelar remix is amazing!

DICKY TRISCO
Love the Underground System remix by Zeynep Erbay. Class! Feeling the Mickey Lion too. Lovely.

FISH GO DEEP/ SHANE JOHNSTON
Phenomenal line up here with a great range of music. Standouts for me on first listen are Life on Planets and John Camp ft. Greg but it’s all quality from start to finish.

MARK BROADBENT/ PIKE HOTEL
This s a killer comp. I’ll be playing this for sure.

DAZ-I-KUE/ BUGZ IN THE ATTIC
Love this comp so dope.

WILLI GRAFF/ THE STANDARD IBIZA
What a killer compilation of remixes. Especially feeling the Cosmodelica Mix and Michael The Lion's mix.

Israeli artist Moscoman returns to Damian Lazarus' Crosstown Rebels imprint with Adventura, featuring a collaboration with alternative and electroclash band Zoot Woman and a remix from Love Attack label bass Alan Dixon. Transmitting twinkling house to emotive indie dance, each artist leaves a stellar stamp on Moscoman's sinuous release.

As summer draws to a close, Moscoman looks forward to the next chapter in his trajectory, undeterred by the change of seasons. The title track opens with a muscular kickdrum and organic percussion before an enchanting melody glide between the beats, igniting a dreamy, tripped-out feel. It's made for an open-minded dancefloor. Moscoman collaborates with Zoot Woman on Reinvention feat. Zoot Woman, blending the airy vocals of Johnny Blake with a shimmering synthline. One for the indie heads. Alan Dixon's remix follows suit with a cosmic disco offering, reworking the stems with verve and serving a slice of strut energy.

Moscoman is a producer, DJ and label boss. He heads up the imprint Disco Halal, showcasing the sounds of house, nu-disco and post-punk supplied by artists from all walks of life. With an ear to merge traditional tones from different dance music cultures worldwide, Moscoman garners an explorative approach to Disco Halal. So far, the label's discography boasts tunes by Simple Symmetry, Red Axes, Trikk and Auntie Flo. His DJ sets slink into long, storytelling sessions of low-slung grooves and post-punk flavoured beats, as heard in Space Miami, Panorama Bar, Glastonbury and Pacha Ibiza, amongst other iconic spots. British act Zoot Woman consists of seminal producers Adam Blake, Johnny Blake and Stuart Price. Since the mid-90s, the group have produced and performed electronica, alternative, electroclash, rock and synthpop. Acclaimed for their scintillating live shows, the group remains one of the most remarkable bands from the UK. London-based Alan Dixon is a producer and DJ celebrated for his disco edits. Labels like Watergate, Life and Death, Keinemusik and Pets Recordings have released his tunes alongside his own imprint, Love Attack.

Dorothy Moore's 1976 soul classic 'Misty Blue' became an Ibiza chill-out anthem in 2002. As 'Misti Blu' it got high-profile plays by Mary Anne Hobbs, Pete Tong and Mixmaster Morris and even David Mancuso charted in his end-of-year highlights. Now the sundown gem gets reissued here on a tidy 7" as a superb rework from the newly reformed amillionsons. The crooning vocals remain the highlight with sultry trumpets and lavish downtempo rhythms. What's more, we're told that a new live disco and house version are coming in 2023, so watch this space.

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.