Search:inte

Building on their shared exploration of forward-leaning UK club sounds, EM + STAV herald the arrival of their new label JoyLift with the Endless EP. Having entrenched themselves within the free-spirited landscape of Bristol’s music community, the pair home in on a focused sound which draws on the city’s storied bass mutations as a springboard for their own take on modernist dance music.

There’s a tough, brooding quality to Endless EP which speaks to the meditative pressure of soundsystem immersion, but equally EM + STAV build out evocative, shifting narratives within that club-ready framework. From dubwise processing to deft sound design, a broad church of processes are wielded to shape out these pieces, and physicality comes in many forms whether in weightless sub lines or pointed, angular drum programming. Given their long-standing connection to developments within the underground music scene, there’s a keen instinct for the dynamic shifts which can set a dance alight, while the ill- defined shape of the wider genre-not-genre allows plenty of space for movement and experimentation.

Alongside the three original productions from EM + STAV, kindred spirit Forest Drive West steps up for a remix of ‘Odd' which aligns with the aesthetic intentions of JoyLift while demonstrating the idiosyncratic qualities associated with the scene’s most vital artists. The cohesive feel of Endless EP extends to Luke Griffin’s artwork, in which natural source material undergoes heavy processing to wind up in a striking new form, shot through with colour but ultimately shrouded in a moodiness that harks back through the lineage of hardcore-rooted UK dance music.

By its very nature the future is unwritten for JoyLift, but EM + STAV’s new project commits itself to an ever-evolving palette of sound, rendered as music with a strong sense of identity - tracks to shake the dance without resorting to obvious tropes, responding to and feeding into the inspiring tides of ideas emanating from the environment around them.

Are you ready for an intergalactic journey through the sounds of Planet ‘E’?
Once again, we find that each side of the record has its unique flavor, guiding our curiosity through an out-of-this-world experience. The ‘Sweet’ side begins with Magic Ambience. First made in 2003, here, the ethereal pads, melancholic melodies, and the broken beats evolve into a bass-driven house groove drenched in sucrose. A tasty start to the narrative that leaves you wanting more.

The A2, Weather Morphing, a track initiated in 2004 takes you straight into and beyond the atmosphere of Planet ‘E’ on a trip through the glowing and strobing planet rings. This track captures the volatile weather of our fantasies, with syrupy yet psychedelic electro-breaks complemented by cosmic arpeggios and epic chords. On the ‘Sour’ side, Kick It Then Drop It, originally recorded in 1999 is both a hymn of Planet ‘E’ and a full-power kicker that will leave you in the right place to party. Hardcore, old-school breakbeat meets funky acid lines for a high rave energy combo that promises some screwface on any dancefloor. Empire State Beat (Phat Beat Mix) is the final destination of this EP. Made in 2004, chock-full of energy, this nostalgic composition takes off as a night-time, bassline driver that will keep the floor going at full power. Don’t miss your chance to embark on another cosmic journey with us.

Celebrating twenty-five years of Aficionado as a place to play away from suffocating mainstream club culture, DJs Jason Boardman and Moonboots have compiled a contemplative set of 16 tracks that holds a deep meaning to both themselves and attendees of their now legendary parties. The compilation includes two new tracks exclusive to the release: J Walk’s ‘Cool Bright Northern Morning’ and Begin’s remix of Canyons ‘Akasha’.
Reflecting on how it all started 25 years ago, Moon considers their no-plan-plan to be a makeshift plateau which evolved organically: “All we did was try to play good records one after the other without any consideration for fashion. And people wanted that”. Alternative approaches were not unknown at the time, but Aficionado, as Jason and Moon’s Sunday sessions became known, pressed the reset button with unique resolve.
Jason elaborates: “It was 1998 when we started. It was our own 'fuck you’ to the Super Club regime - almost everywhere then. The ‘anything goes’ Balearic ethos was in abeyance. It wasn’t cool at the time, but we both just wanted to keep that original spirit alive. ‘Keep it open’ had always been my approach to DJing - even from playing at Youth Clubs as a teenager. No rules or generic constrictions. Play anything that you like from any era, any style from any time. We always encouraged our guests to dig deep and play outside of their comfort zones, their usual styles”.
The lovingly crafted musical mystery tour of this compilation, considering its pleasantly hypnagogic intent, may not reflect the madness of these now distant memories. This is an older and considerably more responsible collection and this is what we need right now - a temporary respite from a world almost capsized. A mood, a meditation created by masters of their craft. Odd socks from disparate global locations making new sense side by side. An assemblage, if you like. A thread through many different kinds of thinking. A new picture pieced together from the lost pieces of many jigsaws.

Different elements, opposite and contrasting, can be indissoluble and necessary for each other.

The beauty of nature is balance in diversity.

“Sol Inspired” blends minimal sounds, dub influences, dark and hypnotic melodies.

Refined rhythms intertwine with enveloping bass lines, modular sequences lean on spatial atmospheres and textures, for a journey of total sound immersion.

Holeg Spies’ 7th album BRAVE NEW WORLD is a new step towards his creation of an immersive sound world intermixing his various music influences. The album features collaborations with YOUTH (Killing Joke, The Orb, producer of Pink Floyd and The Verve), well known Dub producer GAUDI, renown Australian percussionist RIP VAN HIPPY, psychedelic dub artist KUBA and French Goa-trance pioneer THIERRY GOTTI (Spectral/Blue Room).

This unshackled album escapes all classification, getting lost in the confines of Electronic, Progressive Rock, Dub, Ambient, Symphonic and Psychedelic music.

French trail-blazer electronic artist, Holeg’s 30-year music exploration has taken him from the early days of techno productions to composing music for films.

Touring Europe and Japan, where he was regularly invited to perform thanks to JUNO REACTOR, Holeg crossed paths with his first filmmaker, the notorious TAKASHI MIIKE, for whom he made an audiovisual remix of one of his most famous films, ICHI THE KILLER in 2001.

His film music duo SAVAGE & SPIES created the soundtrack for the cult classic THE HUMAN CENTIPEDE, BLACKSITE, a $15M thriller by the producers of SICARIO & JOHN WICK and ABRUPTIO starring Oscar-winner JORDAN PEELE. Released on Liquid Sound Design in 2021, his latest opus AXIS MUNDI RELOAD was based on personal immersive journeys in the steppes of Mongolia and among the Hopi tribe in Arizona and features collaborations with YOUTH as well as JAIA and DF TRAM.

The interstellar cosmonauts of Staatseinde create a theatrical mix of pulsing electro with nostalgic hopeful synthlines, all performed live with synthesizers, a sequencer and tantalizing vocals. From Wave to EBM, from NDW to Punk and everything else in and out of the box. It is like walking into a club meeting Kraftwerk on speed and The Sex Pistols on acid.

Their new release “De Nieuwe Golf” is characterized by dystopian prospects and hopeful sounds, confirming Staatseinde’s name as the founder of the “Neue Niederländische Welle”, in other words the New Dutch Wave.

The uplifting italo rifs in opening track “Grauw” take you on a journey through a gray world in which color cannot be taken for granted. Minimal wave track “Einzelganger” makes you feel like an outsider who can’t keep up with society. “Geef Me De Tijd” sounds like a schizophrenic dreamer swinging casually, but ending as a hard hitting track. Dystopian doom and pessimism is captured in EBM/techno floor filler “Doembeelden”. The raw West Coast Sound of Holland infused “La Haya” is a tribute to the city of The Hague which calls out on everybody to get wasted. The epic ode to space travel “Ruimtevaart Vooruit (2022 Refix)” is back in a rendition inspired by Rude66’s 2010 remix version. “Isla Inutile” is a dark and tropical delirium. In the hopeful “Alles is Weg”, Staatseinde takes you from the downfall on the way to…?

Staatseinde’s “De Nieuwe Golf” holds up a mirror to humanity…progress has not helped us any further. There is hope…but will this new wave be on time? Or is it already too late?

SAIS005.5 — a companion piece to the PMA EP by B-2DEP’T released on SAISEI earlier this year — is a unique one-sided 10” EP featuring a remix by Uruguayan producer Z@p.

The Phonoteque resident reworks ‘BSMH’ with a classic 80s electro beat and bassline, funking up the groove for all the breakdancers in the crowd. The original vocodered lyrics — “Body/Sonic/Mental/Health” — resonate today as much as they did back in 1993, acting as a mantra for a new rave generation.

Repress!

Wallace has been something of a behind the scenes phenomenon. Having just two official releases at the time of writing, alongside a few white-labels on his own ‘Tartan’ imprint - The man known as Wallace has somehow worked his way into the record bags of the worlds biggest DJ’s: Gilles Peterson, Hunee, Moxie, Ruf Dug, Gideon and beyond.

It’s only a matter of time before the wider dance music community catches on - and I wouldn’t be surprised if - by the time this record hits the shelves - WALLACE- MANIA is in full effect. An artist like this only comes along once in a blue moon.

Wallace has been quietly perfecting his craft for the last decade, and has a deep understanding of club dynamics that can’t be taught. Bradley Zero himself has been playing 4/5 Wallace tracks per set within
the last year alone! Luckily for you, the secret is out, and we, for one - cannot wait!

Church Boy Lou was born from a dream in the summer of 2014. A captivating and enigmatic fi gure, created by the innovative, genre-bending, DIRT TECH RECK label head Waajeed. Recently crowned DJ Mag’s Underground Hero and just off the heals of his lead single with Defected’s Dames Brown, he continues to cultivate rhythms from the pews of the Baptist church.

This second offering from Church Boy Lou embodies the same spirit and uniqueness as his first release, Weep EP in 2015. "The Night Is Coming" brings you the first hand experience of a minister leading his church with the Word of God. These heartfelt lyrics warn of the dark times ahead of us. However, “Keep On Praying” brings a positive note and beckons us to the dance floor. “Push Em’ in the Face” skillfully integrates high energy Chicago Jack house and techno. Rolling snares and energetic beats fuse with powerful lyrics to face all challenges head on.

This well composed four track offering has an opener, closer and prime time options for all DJ’s across the board. With a sonic steeping of gospel samples and an authenticity that could only come from Detroit City.

Influenced heavily by the metallic and industrial sounds that surround
him at his day job, Veldt (HANDS, Industrial Detroit) channels those
sounds into a rhythmic chamber, filled with electronics that hint to
influences from the Rhythmic Noise, Industrial, and Techno strata.
While residing in Detroit, Michigan, Veldt works closely and in
partnership with Industrial Detroit. Interrupting new circuits with a
purpose

In the early seventies, Joey Gilmore embarked on his musical journey, captivating audiences with a series of unforgettable singles that showcased his raw talent and unique style. It wasn't until 1977 that the culmination of his musical endeavors arrived—the release of his highly anticipated debut record.

This debut album marked a pivotal moment in Joey Gilmore's career, solidifying his reputation as a self-taught guitar virtuoso and soulful singer. The record resonated with listeners, capturing the essence of his artistry and leaving an indelible impact.

Now, after a 45-year wait, the time has finally come for a vinyl reissue of Joey Gilmore's debut album. This reissue is a celebration of his timeless music, meticulously crafted to preserve the authenticity and integrity of the original recording. Every note, every lyric and the original design of the sleeve has been lovingly restored to transport you back to the magic of that era.

Get ready to immerse yourself in the unadulterated funk and soul of Joey Gilmore's music, as this remarkable reissue brings his debut album back to life. Allow the melodies and rhythms to envelop you, taking you on a captivating musical adventure that transcends time. Revisit the magic, rediscover the artistry, and let the music of Joey Gilmore captivate your soul once again.

There's no denying Marcel Fengler's profound impact on the ever-changing techno landscape. A pioneer in his own right, Fengler's works have flooded dancefloors and set lists worldwide for decades, and that shows no sign of changing anytime soon. His latest work is an all-encompassing four-track EP titled "Unleashed", including a remix from sought-after Stuttgart duo SHDW & Obscure Shape.

Kicking off with the title track, "Unleashed" introduces the EP with high-octane rhythms, pulsating low frequency sonics and rave like harmonic layers. An unrelenting onslaught of fast paced thumping techno, built around long, sweeping notes, vocal injections and a piston-like bassline, this one was made for the height of the party. "Caution" is next to feature, presenting itself as a robust industrial number with harsh percussive drive and endless layers of cadence throughout the mix. Weighty yet groovy in a unique up-tempo way, its robotic vocal splashes make the perfect accomplice for its potent warehouse vibes.

"Cypher" pulls you into the second half of the EP with rattling rhythms and more gritty sweeping musicality. Exhibiting the depth in his production skills, Fengler loads up the mix with a kaleidoscope of percussive elements alongside thumping kicks, surging synths, and another haunting robotic vox before SHDW & Obscure Shape get their teeth into a signature remix. Taking it deeper and darker, the duo's emphasis on subtle progressions and increasing intensity throughout the mix with offbeat trickery and creative unpredictability make their remix of "Cypher" a certified peak-time bomb.

"It has been quite a journey with this EP, as I've been exceptionally discerning about the sound and the entire production process. My goal was to create a release tailored for the dance floor, with the right amount of energy for peak-time moments, while also ensuring a profound and well-structured sonic experience. After testing potential tracks in my DJ sets, I distilled what I believe captures the essence I want to share with the audience. Furthermore, I'm thrilled to have SHDW & Obscure Shape on board for a formidable remix. Their work carries echoes of the raw and forceful sonic textures from earlier times, which I hold in high regard. I'm genuinely delighted with how everything has come together, and I hope you enjoy it!" - Marcel Fengler
Order IMF012 now

The Stallions compilations have become a benchmark of Bosconi's position as one of the leading house and techno labels operating out of Italy. This third instalment marks a shift in sound which also comes full circle to the music that first inspired founder Fabio Della Torre as a DJ and producer around the turn of the millennium, when punchy electro production was driving European house and techno into new zones.

All the artists featured on Vol. III are Italian, holding true to Bosconi's commitment to supporting local talent from Florence and across the country. Amongst the familiar faces is Della Torre's own Minimono collaboration with Ennio Colaci, which indulges a proudly manic palette of tweaked bleeps and dirty low-end. Elsewhere, recent additions to the Bosconi fold include veritable legends Alexander Robotnick and Marco Passarani, who infuse their unpredictable approaches to electro-techno and italo disco with ear-snagging synth-pop and driving analogue box jams respectively to create vibrant, impassioned dancefloor monsters.

The Mechanical Man is an alias from Nicola Altieri, who leans in on a classic Italo arpeggio to create a seductive club sound which builds on his recent Bosconi EXV EP, while Cixxx J switches from the mood of his own Bosconi appearance for a new alias Queen Of Coins and a pivot towards heads-down electro-techno-trance with a whiff of International Deejay Gigolos. Lapucci builds on the promise of his 2021 Bosconi 12" with a sentimental fusion track which lands somewhere between old school Italo house, the snappy pulse of EBM and crisp 00s-era electro house. Meanwhile modern day Italian techno legend Lucretio of The Analogue Cops makes his first appearance on Bosconi with the playful video game stylings of 'Gradius'.
A great deal of space on Vol. III is given over to emergent talent, ranging from Miguel Herr's twitchy detroitian synth-pop braindance and Twovi's vocoder-charged electro funk to DJ Rou's jacking ghetto house flavour. Giammarco Orsini and Jacopo Latini appear as Data Memory Access and deliver an emotive, punchy strain of machine soul. Feel Fly rounds the compilation off in bombastic style with an epic, cinematic workout which draws on Moroder-inspired drama without losing the forthright peak-time focus which binds the whole collection together.

Even the artwork on Vol. III serves as an opportunity to celebrate Italian creativity, as pioneering crypto artist Niro Perrone builds on his accomplished work in the field of NFTs and a background in music production to respond intuitively to the vibrant, synthetic sound of the compilation. For all the futurism in the music though, there remains a strong sense of human feeling which has marked Bosconi out since the beginning. The label remains as inspired and inspiring as ever, celebrating the fertile crossover when people manipulate technology to express themselves in an honest, playful way. Independent of wider trends or fashions, Bosconi remains true to its own idiosyncratic passions, and so Bosconi Stallions Vol. III stands proud as a compilation like no other.

The 1973 album “El Violento” was the fifth full-length salsa LP led by Julio Ernesto Estrada Rincón, aka Fruko, and the second credited to Fruko Y Sus Tesos. Though it did not contain hits like ‘A la memoria del muerto’ or ‘El Preso’, it’s a collector’s item today in places like the US, Europe and Japan, perhaps precisely because it is obscure yet full to the brim with unrelentingly hard and heavy salsa bangers that never let up from start to finish (hence the title, which translates as “The Violent One”). A mix of originals and interesting covers, the LP is “all killer and no filler”, purposely designed to set the dance floor ablaze. It features Fruko’s two main vocalists that took over from the first pair of Humberto “Huango” Muriel and “Píper Pimienta” Díaz, namely the beloved duo of Álvaro “Joe” Arroyo and Wilson “Saoko” Manyoma. Los Tesos were a talented “wild bunch” who listened to their fearless leader, with Fruko holding down the bottom end on electric bass, Hernán Gutiérrez in the piano chair, the Villegas brothers on hand percussion (Jesús tickling the bongos and Fernando slapping the congas), augmented by Rafael Benítez on timbales and an ace horn section of Freddy Ferrer and Gonzálo Gómez (trombones) and Jorge Gaviria and Salvador Pasos (trumpets). The super aggressive sound comes directly from the South Bronx playbook of Willie Colón. The snarling trombones and soaring trumpet are somewhat sweetened by a nice little Puerto Rican cuatro guitar solo. Sonically lightening the mood somewhat, ‘Nadando’ (‘Swimming’) is a bouncy tune in the ‘Mercy’ genre (basically a hybrid of pop, funky soul, cumbia and salsa, in the style of Nelson y Sus Estrellas), gleefully sung by Joe Arroyo. The beats are complex and ever changing, with a little bit of mozambique, conga, bomba, jala jala and of course salsa thrown in for good measure. The side closes out with a brilliant, uptempo salsa reworking of the venerable ranchera chestnut, ‘Tú, sólo tú’. Side two explodes with the frenetic descarga jam session ‘Salsa na’ ma’—which is exactly that: nothing more than the hottest “sauce” to make the dancers go crazy. Fruko’s tune is dedicated to the Latin community in New York that listens to salsa from everywhere and dances to it so fervently on the weekend. The relentless percussion propels the listener along at breakneck speed as if hurtling down the Bronx Expressway, demonstrating that Fruko y Sus Tesos have mastered the ‘violent’ form of urban salsa that was having its transnational moment in the early 1970s. While “El Violento” may not be as well known as some Fruko records, it certainly deserves a new look and should be assessed on its own merits as a very powerful, confident entry in the historical evolution of Colombian salsa dura.Sleeve

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

After a long hiatus Klaus Benedek comes back on his own mothership Fortunea Records with a brand-new production. ‚Tombstone’ heralds the autumn. You can feel the melancholy that brings the end of the warm and bright days with it. Although the subject matter is dark and eerie, the track wanders with its epic instrumentation through pensive optimism. The remarkable chopped hookline and the concise and soft bassline are casted in a flowing deep sounded carpet full of hope. An epic excursion that you definitely should give a try.

A considerable move into a different sound sphere goes Berlin-based artist and Tieffrequent-founder Siggatunez. He has had an outstanding array of vital productions this year and with his remix he lets you „feel the unknown“. In a very detailed way he made a serious dancefloor intended track, in the signature style of his current output, where beats and groove take the lead, but keeping the soul of the
original with the use of its pads, strings and bass.

Tombstone will come out on limited 200 copy vinyl and in its digital form onstreaming services and download stores on the 27th of october. There will be no repress!ö

Kamai Music’s 26th release comes from the Electronic producer duo and live act Kon Faber.

A1: “Ambiguity” is a bouncy, groove- and percussion-heavy collaboration between established producer Iorie,
including a vocal duet.

A2: “Cheer” is an emotional, atmospheric track with a mesmerizing interplay of synth lines and jazzy melodic
licks from professional jazz saxophone player Marius Dick.

A3: “Weberwiese” is a large space with choirs and wide synth pads. The track opens up through a virtuous,
acoustic lead guitar embedded into a hypnotic and bouncy groove.

B1: South African producer Fka Mash gives a deep Afro House twist including a rich bass lead synth.

B2: Kamai’s own Jacob Groening shows a simplistic interpretation of “Cheer” and adds a new depth through a
non-metrically played lead synth.

B3: “Weberwiese” is remixed by Joep Mencke, who adds trance-like melodies and creates a melodic house
spin for the big stage.

First reference of this new label established in Madrid, by DJ Producer Resura (Fede Ruiz) who has already released work on labels such as Analogue Solutions, Dark Forest and RhodRecords, among others.

On this occasion, the work is more conceptual than usual. Nostromo E.P. is a tribute to the film Alien (1979). It will be released in a limited edition of 300 units of 12″ and features high quality Electro Mental and IDM tracks, intended both for listening and for the dancefloor.

Drumcode welcomes another debutant to the fold, as one of techno’s most exciting new artists, Space 92, shares his thrilling two-tracker ‘Time’.

Stepping up for his maiden Drumcode release, ‘Time’ is stirring statement of intent. Staying true to its name, the title track was a slow burner, produced over a number of months between touring commitments. Space 92’s talent for crafting tracks that are tailor-made for big dancefloor moments is seen here in full flight, as tight drum programming leads into a stirring pad sequence before a boshing bass-laden breakdown arrives with crushing effect.

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

Heavy-traction bodyjack and sun-streaked disco straight out the Mediterranean belt, here comes Italian producer Giuseppe Scarano with the bouncy next instalment of Fluid Funk, 'My Life' EP. True to his solar-powered take on the classic US house sound, the owner of the Nice People outlet beckons us onto the path of luscious summer lounging with a quartet of no-nonsense dance floor rippers, lithely alternating sequences of hi-intensity shuffle, Roule-style dynamics and further space age-infused drifts across the scintillating vaults of glam disco. Jacuzzi-warm funk and coastal luxuriance all the way.

Drawing first blood, 'My Life My Love' is a proper fiery blast-off, flush with Scarano's continental breakfast of roaring Chicago drums, spinning synth motifs, processed brass and balearic-like ambience. Churning it like there's no tomorrow. 'Gedda Feelin' continues on a slightly more jagged note and true-school discoid vibe. Propelled by a springy drum work, mesmeric vocal loops and soulful Rhodes chords, it's a restless jacking house number that unfurls, bold and pumped-up at full stretch. On 'Playin da Song', Scarano blends in a fine match of Afro-funk, retro-laced electronica and filtered house chug, whereas the closing cut '2404' opts for a finely integrated mish-mash of piano-fuelled nostalgia, heavy-lidded bop phrases and low-slung boogie, ready to take on any smokey lounge and beachside party with its sluggish punch and exquisite suavity.

This is the second time out for the Wormholes on AllChival following on from their You Never See the Stars When it Rains anthology release. This one is a previously unreleased album recorded in a concise burst of seven nights in Dublin’s Sun Studios in the spring of 1996. It was originally envisaged as being The Wormholes’ second album, the follow up to their 1994 debut Chicks Dig Scars. Unfortunately the end result of the sessions - Parijuana - would not only be ignored by their label of the time (Roadrunner Records) - but would also just as quickly be dismissed by the band themselves.

Eamonn Crudden, the manager of the band, had manged to extract some money from Roadrunner to record demos of new tracks as soon as the release cycle for their debut was over. The budget was so tight that it covered studio time but was not even enough to buy the master tapes. With things going south with the label – a classic 90’s tale of the A&R man who championed their cause heading off elsewhere the minute they signed - the intention was to go in and aim to record an album rather than demos - with the intention of releasing it on another independent label to keep the momentum around the band going.

However by this stage the Wormholes were totally wrapped up in listening to Can, Faust and generally exploring music based on casual recording, improvisations and extemporization. For them the album was too ‘rock’ and – having been dropped by Roadrunner - they no longer felt under any obligation to release it. To them it was time for a fresh start. Their next recordings would not be ‘for’ anyone but themselves. Today bassist Anto Carroll admits that “at times we were our own worst enemies” and with the benefit of hindsight both he and guitarist Graham Blackmore wish they had gone ahead and released this album at the time. However, back then, they thought they could do better and they did go on to make inventive and unique sounding versions of some of these songs with Stan Erraught producing just a short time later. These recordings were eventually released by Dead Elvis in 1999 - along with a couple of ‘adjusted’ tracks from the Sun Studios sessions - on Parijuana: 4 Years in Captivity.

It’s highly unlikely that listeners today will share the band’s view that the abum was too ‘clean’. This version of Parijuana is dirty, raw, messy with plenty of experimentation and extemporisation. The songwriting is as strong as that on their Chicks Dig Scars debut. The music is played with a new confidence and swagger, very much the sound of a band rooted in a wave of US ‘lo-fi’ finding their own sound. It’s the missing link between their conventional Pavement/Sebadoh influenced debut to the more drawn out, free roaming and extemporised second album proper Scorpio The Album.

The latest offering from Astral Black comes in the form of the 'Metropolis N' LP, courtesy of Queens, New York's number premier importer/exporter of Jungle & D&B, NIGELTHREETIMES. Having initially garnered a name for themselves as one of New York City's most versatile club DJ's, with the release of their 'Call Of The Void; project in 2020 Nigel also began to build a reputation as a producer in their own right. Resulting in residencies on Rinse FM & The Lot Radio, radio support from the likes of Tom Ravenscroft & Uniiqu3 and press support from Resident Advisor, OkayPLAYER & Mixmag – amplifying their talents throughout New York City and beyond.

With 'Metropolis N' NIGELTHREETIMES distills their eclectic influences through the lens of rolling 160bpm breaks – taking in Jazz, 8-bit game soundtrakcs, science fiction & jump up D&B. Starting off the LP with the rhodes tinged double header of 'TSQ MELTDOWN' & 'EARLY MORNING FROM 103RD STREET', the latter featuring some of the best double bass work heard on a jungle track since 'Brown Paper Bag'. Elsewhere, on 'ROAD2RAILS' and 'PHANTOM SHORES', the producer ditches the instrumentation in favour of oscillated square waves, dubbed out vocal FX & 8-bit melodies, without ever losing site of the projects underlying sense of optimism. On the album closer 'INTERNATIONAL SPACE STATION', 3X manages to bring together the influences heard throughout the project, tying together a muted rhodes chords, squarewave basslines, flutters of alien melodies and finely tuned, slices breakbeats into a 5 minute symphony.

The consistency and exacting production skills heard throughout the offering elevate this project from another drop in the digital ocean to a landmark opus, from a producer carrying the torch for this timeless sound and making the project worthy of a spot alongside some of the classics this genre has produced.

'Metropolis N' is available Oct 13th on digital and limited edition vinyl via Astral Black.

Kay-Dee Records is coming at you with a 45 double-hitter, presenting Bert Hector’s ‘The Phoenix’ and ‘The Kraken’ with Kenny Dope on remix duties.

On the first record, we’re treated to ‘The Phoenix’: a sure-fire funk gem with a super warm sound. The beat is as cool as it gets, with a laid-back and funky attitude, sitting beneath a joyous intermingling of sitar, flute, brass and guitar - all performed at expert levels.

‘The Kraken’ has a killer groove, struttin’ along at 85 bpm with a real old-school sound on the beat. Joining the breaks is a huge brass section which pumps loud, while flute solos and funky Wah-wah guitar chops take things up a notch. This is a pure, unadulterated groove.

Undoubtedly one of the finest disco songs ever created, “Dance Reaction” emerged as a sensation from Holland, representing a true ‘one-hit wonder.’ The distinguished ‘Siamese’ label in the US and Carrere in Europe both recognized its potential and took it under their wings. This track, clearly inspired by dan Hartman’s “Vertigo”, swiftly climbed the charts across the continent in the spring of 1982.

On the A-Side, listeners are treated to the captivating and sensuous sounds of the Martin Boer version. This interpretation unequivocally showcases Martin’s innate connection with disco, evident in his captivating electro-disco masterpiece. Notably, Martin Boer holds the distinction of being a founding member of “2 Brothers on the 4th Floor,” a Eurodance phenomenon that dominated the 90s, amassing millions of record sales globally. Intriguingly, this release marks his return to remixing records, after a 15-year hiatus; incidentally, Martin embarked on his journey with High Fashion Music in 1990.

Flipping over to the AA-side, Croatian legendary DJ Pucko presents a remix that encapsulates the unique essence of the former Eastern bloc sound. This rendition exudes a raw and forceful energy, characteristic of that regional style. At the behest of High Fashion, the components of his mix were extracted and meticulously reworked and refined through the mastering process. The objective was to preserve the core while polishing the rough edges, culminating in an essential vinyl record that retro and disco DJs alike must acquire to elevate their dance floors.

Massimiliano Pagliara pays tribute to Manuel Göttsching in his first solo EP on his very own Funnuvojere Records, ‘All the VCOs You Can Eat’.

As a devoted fan of Göttsching’s groundbreaking work, Pagliara draws inspiration from his musical hero, crafting a mesmerizing EP that encapsulates the spirit and innovation of Göttsching’s influential sound. The release comprises three different interpretations of the same track, each imbued with exceptional artistry and technical knowledge.

The ceaselessly rolling piano chords in A1 Modulator Mix and B1 Traveler Dub are clear reminders of Göttsching’s E2E4 famous hypnotic refrain. The slight tonal variations, the stretched-out acid line and the uplifting drums conspire to create a sense of transcendence and euphoria. The infectious drums have their own space in B2 The Lonely Drums. This mix has an irresistible groove that will make all dance floors bounce.

The artwork captures the essence of Pagliara’s music through a vibrant and emotive visual language, reminiscent of the pioneers of abstract expressionism. The geometrical forms and patterns mirror the intricate melodies and pulsating beats of this future classic EP.

With the elements in Hip-Hop divided, Pawz One & Preed One return to their grafitti roots with the new collaboration album "Murals & Mayhem". Pawz approaches each song as verbal graff piece that covers Preed One's soulful and gritty background production. The duo bring the color out of topics such as tainted love, friendships, the culture of Hip-Hop and surviving the mayhem of the Los Angeles streets. Adding more to the mural are guests like Guilty Simpson, Copywrite and Ruste Juxx. Blended together each song creates a larger piece that covers the mind walls from top to bottom.

‘Apathy Is Death’ is a precisely engineered, restless and longing work of experimental bass music. Tinkah has created a sonic landscape that is both mesmerising and haunting.

The fundamental note is tension as he speaks a tale of ego and its myriad manifestations.. highs & lows. Climax & anticlimax. Adoration & pity. A 12” quest through the taverns of retrospect.

The 6 tracks, live arranged on a MPC alongside a whimsical bounty of synths & effects, are packed rich with cinematic soundscapes, driving rhythms and an ever evolving temper.

Inspired by true events and adorned with sounds from his world. ‘Apathy Is Death’ tells the parable of being jointly lost and found in the intensity of life.







e B2. Skin 22 Feat. Arpen Daks

Thomas Schumacher returns to the helmet of his iconic imprint with a double A-Side. "Off World” is a pounding Techno journey inspired by his all-time favourite movie Bladerunner.

“Hustle feat. Mark Porter” was born from an intensive creative journey, fusing raw passion and meticulous skills. Both tracks are relentless sonic assaults in true Schumacher style.

Re-release of TS008 (Top Secret/Test Series) by The Conservatives (I-f & Intergalactic gary) from 2003, with the live version as a bonus on the b-side.