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Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that keeps you coming back for more. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records since 1988, Paul is known and respected by many in the realms of underground House and Techno. Renowned for making hips and feet move at parties, clubs and fields across the UK and beyond over the last few decades.
As a label owner, his mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, front room or even just your headphones. Rather than staying too hung up on the past, he continues to serve up the freshest in Acid, Electro, Techno, Deep House alongside sweet slices of Electronica.
Sticking to the format of 4 superlative cuts from equally talented producers, the quality remains unquestionably consistent on Volume 8 of his various artist series. Kicking off A1 in style with a family affair from Acid House aficionado Affie Yusef and his daughter Leila, ‘Dublovr’ is a Class A slice of pure late night chug that rides clockwork rhythms to a rolling bassline. As dubbed out synths ring out to lift you skywards – eerie sweeping undertones add another dimension. Tried and tested since the summer season, the added layer of a TB-303 brings everything nicely to a head. Not to be outdone, Bristol based Electro emissary Zobol delivers a pure slice of machinist joy on A2 ‘Sense The Consesus’, showing his ability to finesse and balance uplifting melodies with warm synthesis on this finest of jams.
Over on the flipside, Maltese producer Acidulant takes up the reins with the hushed tones of ‘The View of Her Shade’ on B1 – a thoughtful excursion into electro hinterland that’s a textbook lesson in making more with less. Last but not least, mysterious I Love Acid affiliate Type-303 turns out an exquisite IDM inflected serving of woozy broken Electronica on the mysterious ‘Knowhere’. Steeped in rippling melodies and aquatic

Eli Brown steps up to unveil his highly anticipated debut release on Drumcode.

The UK artist hailing from Bristol has long been on Adam Beyer’s radar. He made his debut on Drumcode’s sub label Truesoul in 2019, teaming up with Will Clarke for their standout EP, ‘Our Love’. Since then, Eli Brown’s sound has continued to evolve and develop, with his signature dark and subversive sonics exhibiting on labels such as on Filth On Acid, We Are The Brave and his Arcane imprint earning high praise in techno circles.

His maiden contribution to Drumcode is in the form of his high-octane four track EP ‘Deep Down’. The title track ‘Deep Down’ has been a go-to weapon for Adam Beyer who’s been slaying it at Awakenings, Ultra Europe x Resistance and Loveland. It’s a dynamic, vocal-led production driven by a squelchy psy-laced synth line. ‘Nazareth’ is a pumping acid-infused stomper that galvanised the masses at Tomorrowland. Brown draws inspiration from Detroit for ‘Can’t Stop The Feeling’, a track that delicately balances an exuberant soul vocal with a nostalgic rave vibe. The EP rounds out with the thrilling highlight, ‘Pressure’, as 90’s house chords and gritty synths combine with a luring vocal hook for an ecstatic conclusion to the EP. It went down a treat when Beyer played it at Drumcode’s Off Sonar party in June.

What is the sound of feeling?
In physics, we conceive of sound as waves. Vibrations, undulations, physical manifestations: heard but not seen. Borne by the body but interpreted in the brain.
Within ourselves, we perceive emotion as waves, too. Rolling in, rolling out: tidal, even. In moments of violet intensity, the depth of our feeling crashes upon us like surf, rip currents on a corporeal beach.
Worlds apart, but waves in kind. For musician and composer Jo Johnson, the veil between is diaphanous indeed. What you hear is what you feel. Listen and uncover.
Jo Johnson has releases on Further Records, Going In (a sub-label of The Bunker), Verdant and Apartment

zake's fruitful contributions as an artist to his own Past Inside The Present label continues on this new album Deep Into The Unknown We Shall Endlessly Roam. It is an assemblage of arrangements made using archaic tape machines such as a Sony M-570V microcassette voice recorder and obsolete VSC Soundpacer, all on analogue tape. Of course that lends the music a misty, grainy quality that defines much of zake's ambient. Here his loops and found sounds meld and melt to create vast open spaces that are pregnant with emotion and tension. It's another magical work of ambient art that, says the artist, "is dedicated to those who continue to yearn for greater understanding."

2022 Repress

As the dust begins to settle on one of his most significant and pivotal bodies of work to date - the critically acclaimed techno-focused 'Grow' released by Craig Richards on The Nothing Special - Calibre returns to his own label Signature for another fathomless LP exploration. Laced and spaced with the precision balance of sounds, speeds and styles he's known for, and predominantly characterised by his own lyrics and vocal textures, 'Deep' once again reminds us of Calibre's singular status as an artist whose creations transcend time, tempo and territory. Ranging from one of his most in-demand dubs 'No One Gets You' to poignant yearning introspection of tracks such as 'Better Than Me' and the rolling, jazzy broken beat summer serenade 'Lit', 'Deep' is yet another accomplished, alluring and truly unique pieces of work from one of electronic music's most consistent and prolific artists.

• ‘Paper Man’ is a major discovery for lovers of Sam Dees’ music and the Atlanta/Birmingham soul sound of the 70s. Written and recorded in that productive period, it has only just been found in the vault of Moonsong / Clintone recordings. Sam Dees worked with Alpaca Phase III for the Atlantic release ‘I Like To Party’ in 1974 and a Clintone release the following year. He co-wrote this ballad with Wes Lewis and Ken Walker from the group (he also composed ‘Someone To Run To’ with Wes Lewis and group member Berry Collins).

• Dees is the vocalist on ‘False Alarms’, one of several brilliant Dees compositions first released on his “Second To None” Kent CD in 1995. With “so tied up” being such an important lyric in this song, it is conceivable that it is a forerunner of ‘So Tied Up’ which featured on his Atlantic LP at this time.

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

2023 generic sleeve repress

Out of the dark, into the spring with Gantz's colourful 12" EP.

The combination of exotic instruments, deep off-beat rumblings and Rider Shafique vocals, deliver an almost hypnotik journey through Gantz's mind.

• Here are two great cuts, previously unreleased as singles, recorded for Al Sears’ Sylvia label in New York City in 1965. The Corvairs had one very good release on the label in a soul group harmony style. ‘I'll Never Do It Again’ and ‘A Feeling Deep Inside’ are more R&B and sound earlier than the 45 release. Both tracks have picked up admirers from their New Breed and Modernist CD releases and their release as a Sylvia repro label single will be very welcome.

Classic Nas instrumentals combined on a 2LP, including tracks from his very first LP "Illmatic" as well as bunch of classic cuts like "Affirmative Action", "Hate Me Now" or "Nas Is Like".

Somah returns for his second MEDi EP.

After 15 years of active dj-ing and general love for music. Antonio Zuza, head owner of Imogen Recordings, home of many worldwide acclaimed producers, decided to present his own vision of original music that was brewing for many years inside of him.
As in his eclectic sets his house sound is widely connected with origins of dance music. There is no surprise that giants like Ian Pooley and Don Carlos jumped in on this material to make mixes of their perception witch perfectly blends with Antonio's vision of Jupiter Deep EP. There is no better place than releasing Antonio's first outing than on Imogen Recordings.
Jupiter Deep is just a first release of many more Antonio has prepared in near future.

"M4 is a tune that I wrote back in 2017 when I was living in Bristol. At the time I was really into writing melodic pieces and messing around with as many synths as possible. I decided to add some heavy bass to this one cinematic organ progression and laid down some basic drums over the top and called it a day really. I think I sent it out to a couple people (one being Mala) and forgot about it.

Another few years went by and the tune has changed a bit to stay in line with my current production style arriving at the version that's set to be released. Abacus was just an all out bass experiment that I never thought would see the light of day and Dusty really shows off the more melodic style of my productions. After hearing these tunes played on big systems for so long I'm really happy that everyone can now finally get their hands on a copy."

ALXZNDR 2022
Order MEDI124 now
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Spooner Oldham produced six recordings by Barbara Lynn for Atlantic in mid-1968, but session information had previously been scant. Spooner recently confirmed that these tracks were "recorded at American in Memphis" and when the late Red Kelly (Soul Detective) digitised guitarist Reggie Young's session diaries, his endeavours presented further clarity.

Reggie's 1968 diary indicates two American sessions on June 14th and 15th. Four songs were recorded, with "Unloved, Unwanted Me" being shelved. No songwriting credit was documented, but its sorrowful yearning is perfectly executed by Barbara.

A third session the following month yielded two more songs, including the first known recording of "Soul Deep" (its writer Wayne Carson and The Box Tops each recorded the song in 1969). Reggie's diary documents a fortnight's holiday in July, but the distinct lack of guitar and the audible presence of other American Studio musicians further suggests Barbara Lynn's version was possibly recorded in Memphis too.

Both songs make their 7" vinyl debut here. Enjoy!