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An extended 12” ‘Club Mix’ of the 1980’s classic covered in true lovers rock style by the late Melody Beecher. Produced by husband Paul and remastered from the original two track session tape. Jura Soundsystem delivers a ‘Lovers Version’ combining snippets of vocal from the original with the Dub mix, going heavy on the reverb to create a more dubbed out excursion.

The 12” is housed in a black and yellow IOJ Island Disco sleeve with sticker designed by Bradley Pinkerton.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Hot Jams Straight out the 330XX !!

In collaboration with his Ritmo Astral label, Belters is pleased to introduce Orion Agassi from the Asturias region of Spain! Remastered for vinyl, this one has been a while in the making and seems to be reaching the right ears so far. It's very exciting to now share with yours too.

Who knew that classic house and boogie had been missing some reggaeton vocals?? Each track has been very effective on dancefloors around the world and counts support from people you've heard of. 'Dos Blokes' even got a notable mention in the New Yorker.

“a fluorescent EP that fuses reggaeton house and electro into unexpected but undeniably effective club tracks” - Resident Advisor

Kelman Duran introduces LA’s Holodec to his Scorpio Red label with a debut album of flickering R&B torchsongs and ambient trap-soul that aches in a very special way. RIYL Dawuna, Burial, Junior Boys, MssingNo, claire rousay, Joy O, Triad God, Sampha…

The smouldering ’All Dogs Come From Wolves’ is a definitive statement by a quietly gifted artist who operates inside the long shadow of late ‘90s US R&B and the space where it intersects ambient, neo-classical, and the weightless bass interzones of contemporary UK club music. Bare boned and bathed in a dusky Californian half-light, the album’s 11 songs feel unnervingly stark yet full of tongue-tip sensuality, making a virtue of negative space and atmosphere with a lo-fi soundtrack-like quality that evokes the idea of nostalgic reflection as the route to the future; “a reminder to look to the past to remember where you’re from, to see where you’re going.”

Holodec's been assembling rugged dancefloor constructions for years now, teetering between 2-step, jungle, nu-rnb, and vaporous ambient forms, but rarely has he been as pointed or full-bodied as he is on ‘All Dogs Come From Wolves’. It's an album that can't possibly be cleaved from the place where it comes from, documenting LA's immigrant experience (Holodec is Asian-American), and finding thematic common ground with Space Afrika's "Honest Labour", absorbing prismatic reflections of footwork, rnb and hip-hop instead of trip-hop and dub techno.

Holodec croons soulfully over muted piano motifs on 'Tiles', evoking the spirit of Sampha or Dawuna, but with a gaseous glamor that's unmistakably Californian. The mood carries into 'The Wild', utilising wistful pads and saturated noise but refusing to let his music sink into the background. If you feel yourself drifting, there's inevitably a voice, a womp, or a stifled drum sound to drag you back into its presence. 'Bounce' is rhythmically heavy, but still somehow smudged around the edges; beats don't so much pump as fray, the closer you listen the more you hear it falling out of time and just out of space. It's more like a memory of neon-hued dance forms than a replication of the thing itself.

Even at the album’s rudest, the flinty jungle drums of ‘Black Market’ still remain desiccated, just out-of-reach, suggesting not telling, in a way that makes the album’s other highlights such as the vaporous R&B voice note of ‘And My Angel Dies Too’ or the shivering baroque figures of ‘Spirit’ so unusually seductive with their nuanced grasp of inference and a reserve of humility.

Red Vinyl

Ghost In The Machine make their long awaited return to Perc Trax with their first full release for the label since their debut album 'Breaking The Seal' was unleashed at the start of 2020. Since then they've released multiple EPs on their own Genosha Basic label, remixed Marc Acardipane, Dahryl and Torque and given their remix of Paula Temple the vinyl release it always deserved. As DJs they have toured Europe and South America, tearing down dance floors with their powerful kick driven sound. From small intimate clubs to huge festival stages their depth of musical knowledge and razor sharp mixing have made them the highlight of any line-up.

For this first Perc Trax release of 2023 Ghost In The Machine take their sound and production to the next level. EP opener 'Come One' is a tour de force of giant kick drums, distorted breakbeats and the kind of drops most techno acts can only dream of. 'Ensnared' takes a more groove based approach with rolling snares over a classic Ghost In The Machine kick assault. Lastly 'Break' gives us a chance to breathe (at least in comparison to the first two tracks) with droning tones layered over an assortment of classic drum breaks brought up to date by Ghost In The Machine's untouchable production skills.

AMBER ARCADES ist das Pseudonym von Annelotte de Graaf, der niederländischen Singer/Songwriterin, die zwei EPs und einige von der Kritik gefeierte Alben aufgenommen hat, von denen das zweite, "European Heartbreak", durch "hints of Lindi Ortega and early Saint Etienne, breezy, dreamy pop more personal than political" (The Guardian) glänzt. AMBER ARCADES verlor kürzlich für einen Moment den Glauben an die Musik, gewann ihn dann aber wieder zurück und liefert nun ihr bisher atemberaubendstes Album ab: "Barefoot On Diamond Road", das am 10. Februar 2023 erscheinen wird - ihre erste Veröffentlichung auf Fire Records. Die erste Single "Just Like Me" ist ein offenkundig tanzbarer und triumphaler Song, der durch seine Stop/Start-Struktur eine beunruhigende und unvorhersehbare Schärfe in das Geschehen bringt. "There's a clear distinction from my last record ,European Heartbreak', which had a complete narrative. This record is completely the opposite" erklärt die Niederländerin in einem Statement zum neuen Album. Eingetaucht in eine alles verzehrende Wall of Sound ist "Barefoot On Diamond Road" wie MY BLOODY VALENTINE in akustischer Form; es sollte eigentlich nicht funktionieren, aber tut es trotzdem. Es ist eine Gegenüberstellung von Texturen, von sprunghaften, unruhigen Dancefloor-Beats bis hin zu symphonischer Kosmik, ein barocker Pop-Teppich, der mit Celli und Harfen bestückt ist, mit einer klagenden Steelguitar, die in der Ferne widerhallt. Die Schlagzeug- und Perkussions-Arrangements von Matt Chamberlain (PEARL JAM, BOWIE, DYLAN, ADELE, LORDE, SPRINGSTEEN, COHEN...) verleihen dem Ganzen zusätzliche Textur. Es ist ein Album von einnehmender Reife, gefüllt mit Zeitlupen und epischen Steigerungen, die es mit all der Dramatik in schwindelerregende Höhen heben - man denke an THE GUN CLUB, die sich mit PORTISHEAD zurücklehnen, alles könnte passieren, es ist ein imaginärer Film... und PJ HARVEY lauert im Schatten. AMBER ARCADES neues Album "Barefoot On Diamond Road" markiert eindeutig eine neue Phase im Schaffen der hochangesehenen Musikerin. "Wistful, glowing dream pop" The Guardian

The gang that make up Utlandet aren't strangers to exotic rhythms and untamed saxophones. They have been playing parties and filling clubs around Norway for years, and are now readying the concept album Grandfather of Yucca, due in 2023 on Jansen Records. Having a yucca plant on the windowsill can’t replace traveling to an exciting destination. But still, it allows you to dream, and to wonder how things might be out there in the unknown. That alone is reason enough for Utlandet to pay tribute to this modest, sun-loving and exotic plant that through the ages has learnt to live with us northerners. Utlandet – the Norwegian word for ‘abroad’ – is a result of a surplus of energy emerging from a collective depression, where learning to appreciate the smaller things became a necessity for self-preservation. As crossing borders became a distant dream, the band members met for weekly rehearsals to – at least musically and mentally – reach new destinations. Accompanied by some good brew, Utlandet tore away from everyday life by creating music from a world filled with voodoo, deserts and tropical heat. The instrumental ensemble discovered how rewarding it was to be working with melodic structures without having to put words to them and that they preferred an off-key sax to off-key vocals. Adding words to music can limit were the music takes you, as it often becomes more specific, but melody alone has no boundaries and can transport you to any galaxy. So just let go, close your eyes, and go where the groove and melody takes you.

Solaire, Siegfried Kessler, that is the least we can say! Aged 4: learns piano. Aged 6: his first concert. After this: studies classical music like everyone else... until the jazz of Jack Diéval and Stan Kenton turned everything upside down. So it was goodbye to Bach...

...And hello to Dexter Gordon, Joe Henderson, Ted Curson and Archie Shepp (who he would accompany over a long period). In 1969, with Yochk’o Seffer, Didier Levallet and Jean-My Truong, he formed a group which would mark history and create a sensation: Perception. If French free jazz exists, its thanks to Kessler (and company).

The following year, the pianist recorded his first album: Live at the Gill’s Club. On this one-night concert date can also be heard Barre Phillips and Steve McCall. But it was in 1971 that Kessler would record his greatest album; still in a trio setting, but this time with bassist Gus Nemeth and percussionist Stu Martin: Solaire. Five tracks of extraordinary music, moving back and forth between modal jazz and contemporary music.

Let’s begin at the end, with the title track Solaire, on which Kessler plays a melody on flute and piano which resists all onslaughts. It sends out powerful waves, Kessler’s jazz, bubbling like hot oil (Persécution, Drum), shaking modal jazz to its roots (De l’Orient à Orion) or upsetting the memory of a cantata (Bach Hcab). The piano is an instrument which can provide a tendency towards, demonstrative technique; with Kessler, it is something else: a joyful persecution!

For our eighth release we are proud to host the Madrid-based producer Arnic with his first full record on tresydos. A familiar face of our label, Arnic not only plays regularly at the tresydos showcases in the Spanish capital, but also already appeared on a VA and delivered a mix for our podcast series.

From the start of the record, the style is strikingly groovy and deep, combining captivating funky basslines, sharp house rhythms, and jazzy harmonics. While some tracks come across as perfect ‘hands-up’ club gems, the production on this record shows a lot of depth to it, encompassing elegantly suspended atmospheres, softly psychedelic touches in its synths-work, and even some downtempo beats. Arnic’s tresydos record debut escapes easy formulations in favor of a strong personality in every single track - tresydos008 is a quality and versatile record not to be missed.

Vimana takes flight with Aprieta: a collection of polyrhythmic dance tracks produced by Phran. The EP is the physical manifestation of a movement started in 2015 with gatherings in Barcelona and Berlin and was composed in collaboration with friends and artists residing around Barcelona’s Poblenou district.

The tracks on side A contain restrained grooves with deep dembow jams. ‘Aprieta’, ‘Mazatech’ and ‘Sons’ feature collaborations from oma totem (Hivern Discs), Tunik (My Own Jupiter) and
Ribes.

Side B starts off with a remix of the title track ‘Aprieta’ by Dengue Dengue Dengue, before providing the mystical club cuts ‘Faylan’ and ‘Syntorama’, featuring ELO (aka DJ Leeon) and Ribes.

Mixed by Ribes & Phran. The Vimana label image was crafted by Planet Luke (Klasse Wrecks, Graffiti Tapes). Vimana is distributed by One Eye Witness.

Those lockdown silver linings continue to reveal themselves when we least expect it... As proved, once again, by the inimitable Amsterdam techno HQ Deeptrax as they present this stunning analog exploration from scene stalwart Mark Peeters AKA Caim.? Inspired, created and sculpted during those strange times when none of us could rave, Caim simply describes the moment by saying the 'clubs were closed, but creativity kept on floating'... Now that floatation is bequeathed to us through these warm, rolling and wide-armed frequencies. Tapping into a spirit that goes right back to Detroit and Chicago, there's an understated groovemanship at play as Calm jams out on the same instruments house and techno forefathers used to sculpt this culture.? Music to get lost inside of, music to take away the stresses of the day, music that's a joy to mix, weave and tell stories with... Caim has created another timeless collection of grooves that could resonate with or relate to any period in the last 35 years of dance music culture.? From the warm, opening rumbles of 'Nepi' to closing rippling dubwise echoes of 'Kapura', very few stones are left unturned as Caim tells a tale of the ages that we can all float to. Here's to silver linings. ?

Mum No Hands’ - an assured four tracker that draws on Bristol bass, footwork, jungle and broken techno to create something fresh and upfront. A certified stalwart of the Bristol scene, Yushh (aka Jen Hartley) is already well on her way to becoming a household name. Over the last few years she has toured extensively across Europe’s festival and club circuits, landing sets at Freerotation Festival and HÖR along the way. Her label, Pressure Dome, is known internationally as a go-to outlet for various offshoots of forward-thinking, soundsystem-ready UK techno, with a roster that includes Sputnik One, Caldera, Ido Plumes and Cando. So far, she has only teased her production skills with a string of one-off drops and remixes, including features on Rhythm Section, Banoffee Pies and All Centre. On ‘Look Mum No Hands’ she finally lays out the blueprints for her unique, club-honed sound. The title track skips along at a nippy 160 bpm, driven by a slow/fast halfstepping beat and monster bassline that places it somewhere between DMZ and Teklife. ‘Same Same’ drops the tempo down to 130 bpm, with loungey keys and a skippy vocal chop offsetting a cavernous low-end. On the flip, ‘Close Fall’ squeezes darkside d’n’b sonics into a chugging 95 bpm beat template, while ‘Self Couscous’ takes an intricate, glitched approach to jungle/broken beat reminiscent of mid 00’s Planet Mu. Genre: Dance / Bass

Parisian DJ, producer and emerging fashion icon Kiddy Smile embodies the lifeblood of house music past and present. His music flashes with nostalgia for those mid-80s New York basements where house music first came alive. 'Teardrops In The Box' pulses with the intoxicating energy of a Ball in Kiddy's native Paris, with its deep-rooted traditions but its intensely forward-focussing culture.
Following up on his fearsome debut 'Let A B!tch Know' on Defected, Kiddy Smile has deployed the well-established remixing capabilities of Mystic Bill, a house champion from the underground schools of Detroit and Chicago. His 'Jersey Dub' eases back on the tempo for a syncopated strut to The Garden State, while the 'Vocal Mix' is a bulkier prospect, emphasising Kiddy's growling vocal with some serious attitude bass. Finally, his vinyl-exclusive 'Acid Mix' is specifically designed for getting twisted on dark, underground floors. Cowbell and raw synths give 'Teardrops In The Box' unadulterated dancefloor credentials but this is more than a club record; the layers to this track run deep.

Finally the two main protagonists of the current live electronic movement and founders of our fair label Carl Cox and Christopher Coe have stepped up to the plate with this truly innovative and uncompromisingly live collection of techno tunes that defy categorization and are certain to land us fair and square on the dancefloors of the underground clubs of the world!

What can we say.. This EP just bangs! Improvised, recorded live and straight to 2 track in one day, this 4 tracker comes straight from the machines of Carl and Christopher’s collaborative studio in Australia and onto wax!

It is with great delight that we can present this collaboration straight after the release of Carl’s first solo album in 10 years.

This is a statement of definition from the boys, they have planted their feet firmly in the live scene with this edgy, experimental and jackin’ collection of beats!

The mindset is real.

Up-and-coming tech house talent Andruss collaborates with Umberto Pagliaroli and El Apache Ness on Mueve. On the flip, Andruss joins forces with Fatboi, celebrating their South-American roots on Jamie Jones' long-running and internationally renowned label. Huge drums and fresh percussive sounds dominate the release.

The title track kicks off with chunky drums and organic textures, with El Apache Ness's vocals upping the energy—an instant club classic. On Agáchalo, Andruss teams up with rapper and singer Fatboi. Andruss explains the process in his own words. The result is a muscular tech house tune with tribal drums in perfect harmony with Fatboi's husky vocals.

Imagine a designer, who, after having traveled around the world, cuts her hair in a crew cut, sings « Voyage, Voyage » and will thus become number 1 in more than fifty countries including France, Germany, Spain, Russia, Israel, and many Asian
countries ! A real media phenomenon, Desireless hits a second hit with « John » before bowing out and heading off to other horizons.
We were no longer going to be deprived of the desire to listen to these now cult titles which met with dazzling success in the firmament of the Top 50 and European hit parades. This album, which includes 10 fully remastered tracks, is the ultimate testimony to the dazzling career of the New Wave diva and her collaboration with talented producers, such as her friend DJ Esteban, who delivers a super International Club Remix. The pop icon also offers an amazing acoustic version of her favorite hit, for the first time
on vinyl !
Limited Series, Colored Vinyl, including 2 versions of Voyage, Voyage.

Back in 2010 Caribou's Dan Snaith hosted a remix competition for his track 'Sun' from his then-new album Swim. The winner was an unknown producer called altrice.

Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.

A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.

With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.

Speaking of the EP, altrice says:

"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I’m only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I’ve been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It’s surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..

Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache. The acid-infused glitter of “Unfold” paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. “Quiet Track 3” follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while “Never Fade Away” blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.

Flip it over and here’s Joe Goddard taking “End of the Beginning" for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science's many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling “Momentary Spread”, map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it’s a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy

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.

Perth-based artistic hub 823, led by producer / creator-extraordinaire Taku, joins forces with producers Idealism & Lucid Green for “Undone,” a genre-melting LP that bridges sonic comfort, textured tones and lush timbres into one serene, 10 track experience. LP arriving February 3rd, 2023 via 823 x Jakarta Records.

Finnish-born producer and pianist Idealism (1.5mil Spotify Monthly Listeners - SML) and French transplant Lucid Green (568k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on a number of past releases, their upcoming, fully collaborative LP “Undone” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket. With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. Featuring the likes of Yutaka Hirasaka (220k SML) and Charlie Kurata (aka Charlie – 200k SML; Duumu – 109k SML), the album soars, reminiscent of life’s simple, yet wholly memorable moments that bring you a nostalgic pause.
As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club member Mindi Ossi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.
823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (852k SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (753k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (17mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and wellestablished artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

In the late '70s Wild Fire was one of the more popular groups in Trinidad. Formed by Oliver “Stompy” Chapman back in 1962 the group was originally named the Sparks. By the disco era Wild Fire were the house band at night clubs like Disco Tracks and the Upper Level. The group was very influenced by disco, especially the famous British group, Hot Chocolate known for the classic disco hit ”You Sexy Thing.” Hot Chocolate’s chief songwriter, Tony Wilson was originally a Trinidadian native and also great friends with Oliver Chapman. The opening track on this compilation is "Try Making Love", a floor-filling track written by Tony Wilson in 1977 and recorded at Coral Sound Studio in Port of Spain. It was there that Oliver Chapman laid down the unforgettable bass line, solidifying its status as a surefire hit. The infectious tune held steady at the number one slot for six weeks in Trinidad and eventually climbed to the top of the charts in Barbados. Recorded at KH Studios, “Living On A String” with its unique disco synth sound by keyboard player Calvin Duncan was about the hard living of one trying to survive as a musician and hoping to one day partake in the material strappings of fame. “The Rebels” was more about the political struggle for the young in the country at the time. There was a lot of corruption in the government and a lot of young people out of work. The song called to stand up and rebel against the regime. And years later in 1990 it did happen when the Muslim group Jamaat al Muslimeen stormed the Red House (Trinidad’s Parliament House) and took cabinet members hostage. Wild Fire would go on to tour the Caribbean extensively including stops in Barbados, Antigua, St. Thomas and Guadeloupe. The group had a massive local hit with their track “Say A Little Prayer.” The group would disband in 1985 and Oliver Chapman would move to America. Wild Fire - Dance Hits is a collection of Wild Fire's more dance friendly material.

MEMORIAM needs no introduction ‐ they are living legends of Old School Death Metal. Not only because the former fields of activity of the Brits belonged and still belong to the pioneers of UK Death Metal, but because they managed to follow their master plan more than precisely. MEMORIAM has built up their own loyal fan base over the past
seven years and developed its own musical identity. It would certainly have been easy for them to just follow the old paths, but the true art of the band is that they never deny their origins, but gradually incorporate something new ‐ with every album a few new nuances and facets are added.

The sheer speed of their creative output shows how consistently MEMORIAM follow this path: Following the initial success of the HELLFIRE DEMOS trilogy, MEMORIAM signed with Nuclear Blast in 2016. The band went on to release FOR THE FALLEN (2017), THE SILENT VIGIL (2018) and REQUIEM FOR MANKIND (2019) ensuring within a very short time that MEMORIAM were firmly established among loyal Death Metal fans. This wassupported by dozens of concerts, which have taken the band from selected club shows to major festival appearances (e.g. Hellfest, Wacken, Summer Breeze, Graspop). Following the success of this initial trilogy, MEMORIAM switched to the young label Reaper Entertainment. The album TO THE END, the first of a new trilogy, was released in 2021. The second album of the trilogy, RISE TO POWER, will be released in early 2023.

RISE TO POWER will not only once again offer an atmospherically dense Dan Seagrave cover, the war theme stylized on it also runs through Karl Willetts’ lyrics: With 'Never Forget, Never Again (6 Million Dead)' about the Holocaust and the, unfortunately, more than current 'Total War' about the war in Ukraine, Karl is more political than ever. "I am
writing 'our burden and shame' instead of 'their' as I believe it is our collective responsibility to ensure that something like the Holocaust never happens again. I feel that it is my responsibility as a frontman and lyricist to write about the things that I feel are important," explains Karl. MEMORIAM transforms aggression and grief into
uncompromising Death Metal energy. Also musically the mentioned above development process continues.

While the opener still serves the essential Death Metal groove, MEMORIAM becomes more variable with each additional song and keeps adding new dynamics into their Old School Death Metal sound ‐ from brutal grooves ('Annihilation's Dawn') via doomy‐melodic parts like in 'I Am The Enemy' up to aggressive Nordic riffing like in 'Total War'. RISE TO POWER is an extremely varied album, as Karl confirms: "That's Scott's style, he comes from a different generation than Frank, Spike and me. He brings in influences from bands I haven't even heard of. It gives us the balance between old and new, and it works pretty well for us.” (Thomas Strater)

Having spent the past few years supplying low notes as bass player for a who’s who of UK Soul and Jazz talent (including Tom Misch, LoyleCarner, Berwyn, Jordan Rakei, Poppy Ajudha, Jamie Isaac, Puma Blue, Jorja Smith, Alfa Mist & Charlotte Dos Santos) Rudi Creswick steps into the spotlight with his first full length solo offering ‘Different Forms’ on Alfa Mist’s Sekito imprint.

Hailing from Newcastle-Upon-Tyne, Rudi was immersed in club culture from a young age, the low end sonics of which guided his playing, and led him to discovering his own style In the years that followed, Rudi continued to hone his craft, melding the sub rattling sounds of Hip-Hop producers such as J Dilla, MF Doom and Knxwldge with the technical sensibilities of influential Jazz players such as Pino Palladino, Derrick Hodge and Thundercat.

With this record serving as a chance for Rudi to stretch his creative legs, the aim was to showcase the many musical sides of his creative spirit. The first single lifted from the project ‘Sometimes’ enlists the vocal talents of the incredible Emmavie - who dives into self-reflective and cutting, honest lyrics. She explains: “No one ever leads with “often temperamental, quick to anger and generally hot and cold” when describing themselves. Something about Rudi’s laidback production and bouncy singing bass line pulled this reflective and apologetic yet playful subject out of me. “

On the LP, Rudi says: ‘This whole project is thanks to Alfa , Barney Artist and the team at Sekito who’ve helped me realise my dream. They had faith in me for which I’ll always be grateful. The project’s kind of all over the place because there’s so many corners to anyone’s being, inspirations and their musicality, so I wanted Different Forms to reflect that’



Throughout the record, Rudi’s musical prowess and vast influences are laid bare for all to see. From the gliding melodies and twinkling keys and hazy fanfares of second single ‘Peace Of Mind’ (Feat. Manny & The Coloured Sound) through to the sparse and haunting tones of ‘Charlotte’ the LP traverses high peaks and deep valleys, channelling a sense of beauty of textured mystique throughout. Sporting an impressive roster of collaborators including Alfa Mist himself, Trumpeter Sheila Maurice Grey (Kokoroko), Chelsea Carmichael on Tenor Sax, Barrel Jones (Drummer for Nubya Garcia) and Vels Trio’s Jack Stephenson-Oliver (who played synth for the track ‘With Want You’). The lush instrumentation provides an incredible backdrop for esteemed performers such as Barney Artist to drop bars over the crisp drums and laid back strut of ‘Holding The Fence’, meanwhile Berwyn supplies sombre lyrics of the vast expanses of ‘96BPM’. An emotive and engaging listen from start to finish, ‘Different Forms’ is a truly stunning debut.

James Brandon Lewis is a New York-based jazz tenor saxophonist, composer, and bandleader. His instrumental voice marries the emotional power of gospel and the grit and groove of blues and R&B to the modal and vanguard influences of Albert Ayler and John Coltrane, and Sonny Rollins" expressive melodic and tonal discipline. Moments, his 2010 debut, was followed by two outings for Sony Masterworks" revived OKeh imprint: Divine Travels in 2014 and the widely celebrated Days of Freeman the following year. After working American stages and clubs, he toured European and Asian festivals. Radiant Imprints, a duo outing with drummer Chad Taylor, appeared in 2018 and was followed by the quintet offering An UnRuly Manifesto a year later. In 2021, after he was selected as the "Rising Star Tenor Saxophonist" in the Downbeat International Critics Poll, Lewis issued The Jesup Wagon, his debut for Tao Forms. Along the way, Lewis drew the attention of many improvising artists, most notably the saxophonist and jazz deity Sonny Rollins, who doesn"t offer effusive praise very often. Moved by Lewis" deep, spirit-seeking sound, Rollins said "When I listen to you, I listen to Buddha, I listen to Confucius ... I listen to the deeper meaning of life. You are keeping the world in balance." Eye of I opens with 44 seconds of gritty, high-throttling low-down groove, an ear pulverizing opening designed to cleanse all traces of ordinary from the palette. From there, Lewis offers a prayerful cover of Donnie Hathaway"s "Someday We"ll All Be Free" and then the first of his disarmingly addictive originals, "The Blues Still Blossoms" in addition to many others.

Widely considered to be one of the best albums of the 90s, 1992's Automatic For The People features R.E.M.'s iconic hit singles Nightswimming,' Man on the Moon' and Everybody Hurts.'

Commemorating the album's 25th Anniversary, this remastered Deluxe edition boxset features previously unreleased material, including 20 never-before-heard demos, and the previously unreleased tracks Mike's Pop Song' and Devil Rides Backwards.' A Blu-ray disc offers the full album (with bonus track Photograph' featuring Natalie Merchant) mixed in Dolby Atmos, plus a high-resolution master of the album, music videos, and the original 1992 EPK. Also included is Live At The 40 Watt Club 11/19/92 - a live set performed in R.E.M.'s hometown of Athens, GA.

Yellow Vinyl
Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Yellow Vinyl


Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Time to Play Records strikes back with a new 4 tracks ep, late night club-ready, with heavy bass-kicks tracks straight to your chest.

Filippo Tazzer, label manager and executive producer, continues in his search, musical sensitivity and evident production skills. After having entrusted the baptism of the label to Reekee and Colosimo, the moment is propitious to introduce another Italian Producer:
Phonorem, fresh with a new album called “Algorythm”.

Phonorem production skills in those 4 tracks embrace different styles forged by his 90’s hip-hop and drum and bass roots, by mixing synthetizers and drum machines with samples.

SEAMLESS, the track that gives the EP its title, is a deep-house track with double bass – bassline and atmospheric scenarios by manipulating old Italian movie soundtracks samples.

PREE, is a downbeat track which made homage to DJ Premier beats, with some melodies created with a Chinese hammered dulcimer.

FLIP DOWN gives a high contrast experience: fusing a raw drum machine rhytm with dreamy pads and a mysterious vocal.

LOW FAT is a heavy bass kick track with some sythetizers-melodies with a story to tell. With a happy end :)

2022 Repress

David Löhlein debuts on the new Vision Ekstase label with four hypnotic techno tracks entitled

„VISION I – NYSA“.

The club-oriented and rhythm-heavy EP opener „Altai“ features a hypnotic vocal sample fused with stabbing modulations maintaining a constant drive best suited for peak-time purposes before ‘Morava’ continues with vibrant synth walls and stabs, euphoric pads in the distance and resonating frequencies.

On the flip, „Red Code“ starts with clap-heavy and groove-infused percussion above the growling oscillations throughout until „Six Nine“ rounds things off with innovative synth compositions, stirring resonations and clattering drums providing a driving rhythm within.

EMA’s Woozy label returns with Sha Ru’s Match My Sway EP; a powerful club record that sits proudly in the canon of modern protest music. Dubstep-influenced electronics meet spoken word on the continued struggle of oppressed nations’ fight for liberation. Comes with a slamming Walton remix, with all artist profits going towards the Kyiv Angels and Repair Together charities in Ukraine.

Sha Ru are a New York-via-Berlin based duo renowned for their deft mix of spoken word and club electronics, gaining notoriety thanks to their exhilarating productions and renowned live, hybrid and DJ sets. Having spent most of their time based between two different countries, the covid pandemic unexpectedly united the band in Belarus and subsequently Ukraine for an extended period of time. They quickly found themselves immersed in each country’s respective electronic music scene, building strong relationships within each community. It quickly became apparent that both countries were actively fighting for their future freedom, and the duo felt compelled by the unity they experienced in this to respond with music. This resulted in Match My Sway, a record chronicling resistance both lyrically and sonically that found a suitable home on EMA’s impressively futurist-leaning Woozy imprint.

The EP opens with Temporary Iteration, a fierce steppers track with plummeting subs that chronicles a moment of transition into clarity by focusing on the ‘now’; staying true to your belief by moving directly towards your goal together. Not Fluctuating ups the sonic ante with hefty kicks, drill snares and potent throbbing bass, while the vocals describe the feeling of ultimate resistance in the name of seeking the truth.

Side B enters with Synced Energies, acting as the EP’s thrilling climax. Percolating synths pogo around a 2-step beat providing chest-gripping catharsis. Lyrics repeat a mantra of unity, refuting divisions. Tectonic and Ilian Tape affiliate Walton sees us out with the intense stuttering rave mechanics of his Not Fluctuating remix, a modern techno monster that deserves to be enjoyed on a 10ft tall rig; a complimentary take on a powerful original.

Our first vinyl release of 2023 sees two classic tracks from Groove Park take centre stage. Hit The Bang and Carrousel first came to the fore in 1995 as separate releases and, after a few solid remixes, our Bonzai Classics imprint resurrected both tracks along with top-notch remixes in 2002. 21 years later we bring to you the original versions of both tracks on glorious 12” vinyl. André Strässer and Sharam Jey aka Sharam Nickjey Khososi make up the dynamic duo that is Groove Park. They were also the brains behind massive projects such as 16C+, Three n One and Johnny Shaker to name just a few. The tracks found a unique place in clubland, having a diverse structure that spanned genres flawlessly. The A side features Hit The Bang with its hybrid progressive/techno flow. The relentless bass groove, distinct voices and stabbing synths gave rise to a powerful, energetic and mesmerizing moment that lives on. On the flip, Carrousel takes up the B1 slot opening with that infectious woodblock sequence alongside pumping kick drums. A groovy bassline joins the party as old skool pianos come through. The track reels us in with many twists and turns, from wide, epic progressive parts to energetic trance, all wrapped up in a warm, nostalgic glow. A proper piece of dance music history and a must for the serious collector.

«I am the bridge between the day and the night that never ends, I am the acid drop that beads on your dancing body, I am the metallic breakthrough that crosses your being when I catch your wet hands, I am the brutal wave that grazes your dark gaze and your tired eyes, I am the titanium and the cyprin, I am the adrenaline, I am that being that invents, desires and revolts, I am that jolt of desire that tears me when it is dark, I am a psychoactive substance diluted in honey, I am the back that you caress, I am our first and last dance, I am the one who seduces you, I am the one who obsesses you, I am the solitary dance that bewitched me the first time we met, I am the cry muffled by our restless bodies, I am the movement that pierces and unfolds as if it were the last. I am solid and liquid, mechanical and organic, I am your first and last time, I am Baraka.»

French duo Baraka present their first eponymous EP.
Dive into their cathartic universe in which they celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices.

This alliance of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery.

Originally released in 2013, now re-issued on their own Extreme Eating imprint. FROM THE 2013 PRESS RELEASE - Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he that he met Andrew Fearn and the Sleaford Mods became a duo. The rest, as they say… “

Radio Slave teams up with Nez for all-new versions of the club smash, ‘Wait a Minute’.

The first single from Radio Slave’s forthcoming 2023 LP, ‘Wait a Minute’ sees the UK legend pair with grammy nominated multi-hyphenate Nez for a hard-hitting, rap-infused house track that has become a staple of the handful of DJs who had upfront versions this summer.

Initially meeting via Radio Slave’s incendiary remix of the FELIX DA HOUSECAT co-produced ‘Lift Off’ released via Three Six Zero/Sony in 2021, LA’s Nez and Berlin-based Radio Slave made plans to work together as soon as possible, and a new version of 2020’s ‘Wait A Minute’ is the result. Featuring remixes from Rekids’ own Mark Broom and coming complete with an instrumental version, Radio Slave feat. Nez ‘Wait A Minute’ is released through Rekids on 26th August 2022.

Radio Slave, aka Matt Edwards, is responsible for some of the most recognisable underground dance tracks of the past 20 years, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and many other timeless cuts. His collaboration work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Nez has worked with the likes of Chance The Rapper, A$AP Rocky, Tinashe, ScHoolboy Q, and many more before dropping the dancefloor focussed ‘Midnight Music’ EP in 2021. Growing up in Chicago, Nez absorbed the rich musical lineage of the Windy City, and now distils these into his own unique creations and collaborations.

Kode9's most ambitious work yet as a multi-disciplinary artist, `Escapology' is the soundtrack album to the sonic fiction `Astro-Darien', itself soon to be released on Hyperdub sub-label Flatlines. Already available as a special edition CD and digital album, we now offer a 1000 piece limited pressing on lucent orange vinyl, in spot-gloss sleeve with additional artwork by Optigram. `Escapology' reconfigures `Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics. "A record brimming with ideas and novel sounds, departing from genre exercises to offer something genuinely different." - Album of the Month -DJ Mag "Kode9's most dextrous and intuitive club music yet, full of mind-bending rhythmic nuggets. He's still the brilliant master behind the scenes, quietly one-upping everyone else." - Resident Advisor "The 15 tracks become proper dancefloor scorchers _ `Escapology' builds a futuristic jumble of aesthetics and sound design." - The Wire

The sum to infinity of a sequence is the sum of an infinite number of terms in the sequence. It is only possible to compute this sum if the terms of a sequence converge to zero. "sum to infinity" is also the second release from gamut inc, the retro-futuristic ensemble around composers and curators Marion Wörle and Maciej Sledziecki.

This second album by gamut inc combines custom-build autonomous music-machines with haunting classical synthesizer sounds to a dense musical kaleidoscope.
The core of the album is formed by Risset rhythms - cyclic accelerations and decelerations, in which rhythmic layers are repeatedly faded in and out, setting in motion a seemingly endless process of rhythmic movement. The motifs are taken from geometric and arithmetic series that create an urgency and restlessness. The rigor of the construction is obscured by an orchestrion whose timbres are reminiscent of a retro-futuristic indigenous ensemble. gamut inc translate strategies of electronic music like pulse-width modulation to music machines such as automated accordion, automated percussion or glockenspiels and create an intense atmosphere that is idiosyncratic, original and modern at the same time.

Gamut inc. build their own music machines, play electronic music festivals internationally, curate the AGGREGATE festival for automated pipe organs, and compose for film, radio drama, and theater. Their first opera, ROSSUMS UNIVERSAL ROBOTS, premiered in 2022. Since 2011, at the intersection of electronic club culture and experimental music, they have been producing live music, music theater, film and theater scores (including for the Junge Staatstheater Berlin) with their specially developed musical robots. They composed for ensembles like the RIAS chamber choir or the robot orchestra Logos Foundation and received invitations and commissions from international festivals and venues such as Sónar, CTM, Berghain, Sonic Acts, Technosphärenklänge or Numusic (NO).
Their first release EX MACHINA was produced exclusively with music robots, and released in 2014 in cooperation with Bôłt Records.
"Percussion tracks bring to mind the music of Einstürzende Neubauten in their industrial mechanics, until finally the music warms to an expression reminiscent of Johnny Cash's late work."
Süddeutsche Zeitung