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2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian
Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski.

All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date.

Cut as a double LP for maximum dynamics by King Kevin Metcalfe. Includes digital download card for full contents and double-sided poster insert containing new interview with Bonjo on the making of the record.

Returning to the label's dance floor roots, BODYCLOCK is a natural extension of Darker Than Wax's DNA - a foray into the late night club sounds that defined their sound. The freshly minted series represents the Singaporean label's primary outlet for dance floor burners and machine soul, shedding light on a new school of producers from around the globe and at the same time paying homage to the pioneers who laid the foundations for us. A celebration of afro-futurism that is ever-present in the consciousness of dance, BODYCLOCK is built for the nocturnal beings and discerning selectors that push this timeless tradition forward. This first volume brings together five producers across four continents - Teymori from Australia, NYC's Malik Hendricks, label mainstay Ricky Razu from Belgium, as well as Darker Than Wax co-founder Kaye and up-and-comer Halal Sol from Singapore. Establishing both facets of the BODYCLOCK sound, Side A features two vocal-led soulful excursions, while the flip brings three unabashedly jacking cuts to light the floor on fire. This is only the beginning - BODYCLOCK is coming with an onslaught of twelve inches and EPs, distilling our sonic outlook and looking to the future.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

The Garden is another timelessly classic album from a seminal electronic band and an essential soundtrack to any laidback listening.

It is truly a family affair over at 7 Days Entertainment. Butterbandz, the youngest son of 7 Days Entertainment label head Big Strick, gives us his debut EP titled Legacy. This freshman EP of the youngest of the Strickland clan is nothing short of what you would expect from a family member deeply rooted in dance music from Detroit. The first song off of the EP is a vocal track from BBZ with help from the artist Marc, who is a rising vocal talent from Detroit associated with the 7 Days imprint. If You Don’t Dance is slated to be an anthem among the scene for years to come. It evokes you to get out there and move your body. It brings the energy from start to finish with excited high hats, a grumpy bass and an admirable synth pattern. Things slow down for a more relaxed groove on Free Roaming, a laid back chiller with a smooth synth and a mellow bass of pure delight. Its reverbed synths take you on a never-ending journey through your own mind. Hellraiser is a straight high-octane pure adrenaline rush. It has the soul of true Detroit techno. The unforgiving drum and percussion pattern shines brightly over an acid bass line and catchy synth keys. The last song on the debut EP, Monkey See, closes the project out with a bang. An offset drum knocks on top of an offset synth and warm pianos. The flute is complementary and the percussion ties it all together nicely. Butterbandz shows unparalleled promise for more top-notch projects in the future

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

Kareem Cali & LaRosa link up for a debut EP on Sidney Charles's hard hitting Heavy House Society this March, while groove master Nick Beringer serves up a superb remix.

Kareem Cali & LaRosa have linked many times before on originals and remixes that have helped define the house agenda in recent years. They have a laid back but warm style that is functional but full of subtle detail and studio charm.

Opener B21 is a brilliantly off-kilter tune with warped synths and tripped out details all making it perfect after party fodder. The drums are driving underneath it all, so will be irresistible to the floor. Over Ground is more stripped back but just as punchy, with rubbery kick drums and squelchy synths making for a hugely dynamic groove that is infectious and restless.

Rubisco label owner Nick Beringer then steps up after establishing himself as a real underground talent thanks to cult EPs on the likes of Raum, Berg and Taverna Tracks. His version is perfectly hazy and dazed. The balmy pads swirl around like a warm wind, the hi hats are delicate as they spin above the kinetic kicks, and the whole thing oozes warmth and class.

This is another essential EP from this already standout label.

What more can be said about Saint Petersburg producer Mikhail Khvasko, aka A Vision of Panorama that hasn’t been said before?
His ”Sentimental Coast’' EP continues to cultivate his unique glistening soundscape characterized by a lush jazz-tinged blissful Balearic ambience. The four original tracks here are a range of sun-drenched, unfolding narratives, full of gentle sounds and chords.

Smooth and vibe-focused ''Atlantic Dawn'' exudes sensuality-tethered vibe that is highly intoxicating. Emblazed with mysterious deep breaths and shimmering sonics that entrances the listener straight away to the whole release.

Disarmingly beautiful ''Mediterranean Tribal'' is an old school-fare downtempo jam with classic chilled out laid back Mediterranean instrumentation.

''Sentimental Coast'' is distinctly deeper and more emotive than his vintage synth-laden sounds and is one of his most fragile and still moments within a superbly arranged delicate piano solo.

On ''Vibechos'' things get more upbeat and aquatic, featuring beautiful chords and textures that float into the track with a sun-kissed vibe reminiscent of Italian dream house. “

- DJ Nova (Nova Planet Radio Show, Greece).

Third time is a charm they say. But if the first 2 times were already so memorable, what more can you ask for?
Nebraska comes in with a bang for his third release on Heist after ‘Soften the Wireless’ EP in 2016 and ‘Metaphor to the floor’ in 2017. It’s hard to believe it has been 3 years since his last appearance on Heist, but with ‘Y’miss me baby?’, Nebraska takes back center stage with another releasefull of disco flavored electronics. Italian disco man-of-the-moment Giovanni Damico comes along for the ride and delivers a stunning 80’s flavoredremix.
It’s not to say that Nebraska (Alistair Gibbs) has been sitting still since 2017. He’s launched his own label ‘Friends & Relations’ where he explores his cut-and-paste style even more with some seriously cool disco dubs and other sonic adventures. Furthermore, he made a guest appearance on Aaron Dae and JKriv’s Razor ‘n tape Reserve. Apart from his regular musical explorations, he has also published a book (Surprise party every week) where we get a glimpse of how Gibbs sees the world.
His view is one of humor and positivity and one of creating new meaning through rearranging context. This is certainly true for his music and this new EP on Heist. The title track ‘Y’miss me baby?’ oozes funk with a clever combination of samples from different contexts put together to create something altogether new, yet familiar. The track has a real 80’s disco vibe to it and the vocoder adds even more to the ‘Zapp & Roger’ flavor of things. It’s a laidback track that feels like it was recorded on a gloomy Sunday evening with no pressure on anything and just room for fun.
The vibe takes a complete left-hand turn with ‘Dip and Flip’, a high energy house track that rattles, loops and bleeps into a full-on disco frenzy.
The b-side kicks off with Italian disco wizard Giovanni Damico remixing the title track. He’s had a great run recently with releases on Lumberjacks in Hell and more recently on Star Creature, where he’s found a home to explore his own view on modern day boogie. His ‘jam’ remix flips the track into a freeform arrangement where guitars, disco claps, delays and retro synth licks all work together for a great taste of Italian boogie.
The EP finishes off in true Nebraska style, with yet another curveball. ‘Xia long bao’ sounds like a lost Nick Holder track from the 90’s with its loopy island style Rhodes and lazy chanting. The choice of samples along with the catchy groove makes this a signature Nebraska track and a quality closer for this single.
We are super happy to have Nebraska back on Heist and with this amazing EP, you are certainly going to create smiles on your dancefloor of choice.
Yours Sincerely,
Lars & Maarten

Vermonische Melodien is a collection of compositions by DJ-producer M.RUX, made with old VERMONA machines from Eastern Germany. The nine Electronica tracks can’t conceal their influences from Exotica records of the 1960s as well as their fondness for vintage music technology. We hear voices singing lullabies (“Magische Time”), mumbling chopped up syllables (“Seelnatrax”) or reciting a Shakespeare quote (“Bakelit”) - are they real? Yes! But they are mostly generated by the world’s first speech synthesis hardware, the IBM 704 from 1954, and processed into off-key melodic beauty with vocoders. "I’ve always been curious about musical visions from the 1970s", says M.RUX about his inspiration for Vermonische Melodien. "Those nifty Vermona machines can today be seen as future machines from the 1970s. They seem almost mystical to me. Like relics from an epoch long ago… and I wanted to find out how music from that time could have sounded." On the album M.RUX uses, above all, equipment by Vermona, a brand from Eastern Germany manufacturing electronic musical instruments until 1990. The drum machine VERMONA ER-9 (1976) was the first instrument M.RUX ever possessed. It forms the rhythmical backbone of his studio on this record. The melodies on the other hand have mainly been played on a Vermona Formation-1, a suitcase synthesizer from 1980. Although these two machines are joined by countless other instruments and effect units, their particular soft sound is present in every single moment of this soothing album. "I also take a deep bow to the late Reinhard ‘Lacky’ Lakomy", M.RUX adds. "His releases were the first electronic instrumental records on the Amiga label which has been a huge influence for my work in general and this record in particular." M.RUX has appeared as a solo producer with his “In the Hold“ EP (2016) on his own YNFND imprint. Before that he had become famous for his edits which gently transform songs by Nina Simone, Townes Van Zandt, Tom Zé and many more into slow, dancefloor-ready gems. Pingipung is proud to present this first full-length album by M.RUX. He is not only a talented multiinstrumentalist and original producer but also a skillful remixer - as he has shown twice to the Pingipung audience in the last two years with his touches on Umeko Ando’s Ainu folklore songs

Collective of producers sharing their passion for the break.

Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.

Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.

We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.

Mhysa, the newest addition to the Hyperdub roster, is ‘a popstar for the cyber resistance’ hailing from Maryland via New York. ‘Nevaeh’ is lo-fi R&B with a bedroom feel and challenging lyricism focussed on identity and black experience for the online generation.

She started ‘Nevaeh’ in late 2017, shortly after the release of debut album ‘Fantasii’, recording at home with some input from Lawd Knows, a frequent collaborator on her Scraaatch project. It is Mhysa’s intimate reflection on the black femme experience from multiple vantage points : sex and sexuality, self-love and self-discovery, black empowerment and lineage, and pleasure or the lack of it.

She describes the album as “a prayer for Black women and femmes to be taken to or find a new and better world away from the apocalypse ... a safe space, a sort of negro heaven.” ‘Nevaeh’ is deeply personal but easily relatable, its intimacy heightened by scattered acapella moments and interludes referencing black pop culture, where Mhysa’s delicate voice is laid bare, while other tracks reprise the melancholic R&B her mother raised her on, updated through a queer lens.

Conversely, several of the album’s tunes have found space in Kode9’s club sets over the last year, like the mischievous ‘Sanaa Lathan’ and skeletal ‘w_me’. Of this record’s progression from the last, Mhysa sought “to be more vulnerable and experiment with vocal range … to write more complicated vocal melodies that would be harder to do”, with her production now experimenting with new techniques, and (often self-taught) live instrumentation, as is her family tradition.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with his fourth album 'My Life at 45'. The eagle eyed will have spotted the connection to the good Doctor's second album – 'My Life at 33' - and fans can do their own maths as to when they should expect the final RPM-punning release in the trilogy.

Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

The new album brings together stunning vocals from John Turrell, Izo FitzRoy and Stephanie Whitelock, whilst the instrumental tracks, showcasing the talents of long-time collaborators Jim Oliver, Jonathon James and Ben Castle, make it clear just what a crack production outfit the Doctor has put together. Got a lovely quote from Fatboy Slim: "Very soulful. Doesn't sound too retro. Just fabulous...."

UK Radio support has come in from BBC Radio 2 and 6 Music from Craig Charles (Spot play Trunk of Funk feature), Huey Morgan, Rylan and Paddy O'Connell. US Radio on KCRW from Jose Galvan, Karene Daniel and Garth Trinidad.

WW Specialist plays have come in on WWFM, JazzFM, Radio Krimi, Solar Radio, Radio 1 Prague, WMPG, Milk n Chocolate, Rai 1 Italy, KaneFM, Cannibal Radio, Radio Z Nurenburg and Radio Nova Portugal

Press: Bandcamp: New & Notable, 45Live, Sphere Of Hip Hop, Word Is Bond, The Dutch Guy, Last Day Deaf, Monkeyboxing, Flea Market Funk, Staccatofy, The Find Mag.

DJ support from Fatboy Slim, Laurent Garnier, Dj Yoda, Renegades of Jazz, DJ Andy Smith, Auntie Flo, Doc Scott, Smoove, Chicken Brothers, Crazy P, Satin Jackets, Marc Hype, Mr Benn, Mat The Alien, Basement Freaks, Renegades Of Jazz, The Allergies, Hint,

Maceo Plex hasn't dropped an original on Drumcode since 2014 when the hugely popular 'Conjure Infinity' EP was released. Despite this, he's been a significant feature at DC events over the last year.
Sharing a tight relationship with Adam Beyer, the pair have laid down memorable B2B sets at Warehouse Project, Ultra Music Festival, and the Resistance opening party in Ibiza this summer, thus cementing their tight musical bond.

Produced in the early part of 2019, 'Destination Mars' marks his terrific return to Beyer's iconic label. The track is trademark Maceo, a master class in tension and release, characterized by a slick low-end bass hum that gathers steam as crunchy drum lines and breathy vocal accents combine effectively with the main vocal lead, a contribution from Josh Wink, no less.

... No surprise, it went down a storm when debuted at Time Warp's mammoth 25th-anniversary party in April and has been highlighting the Ellum boss' sets ever since.

The ever-reliable Raxon is charged with remix duties, stripping back the track's engine to focus on a central melody, chugging bassline, and hypnotizing vocal effects. Shall Ocin's re-rub is made for misty-eyed mornings as celestial pads result in a transcendental finale to bring it home.

Berlin / NY collective Climate of Fear releases its debut EP, “Laika’s Revenge” by тпсб – two tracks of sorrowful and menacing technoid expansions. Side A’s “Escape Pod” shimmers like a mirage on a desert landscape, nearly evaporating in the heat; on Side B the title track is five minutes of roiling thunderstorm ferocity. Following his breakout 2018 lp “Sekundenschlaf” on Blackest Ever Black, “Laika’s Revenge” expands on the artist’s fevered vision of the dance.

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

Soul Jazz Records continues its journey into the world of Afro-Caribbean roots music with this album of newly recorded music of Gwo Ka music recorded and produced by Soul Jazz Records on the island of Guadeloupe, French West Indies.

Gwo Ka music is a fantastic fusion of African-­derived musical form ( call and response), with vocal styles that draw upon the equally powerful French chanson singers to create a truly unique combination.

Tradition Ka, made up of some of the island’s finest singers and master drummers, is part of a powerful network of politicised Gwo Ka groups on the island – upholding the traditions and cultural importance of Gwo Ka as part of a larger process of defining the identity of Guadeloupe and its culture.

This album is newly studio recorded in Pointe-­A-­Pitre, Guadeloupe by Soul Jazz Records. Like the cult music of Haiti’s Vodou and Cuba’s Santeria or the roots music of Belize’s Garifuna (all of which Soul Jazz have also released), Gwo Ka is the musical and cultural product of the region’s African ancestry, forcibly brought to the Caribbean through slavery.

Gwo Ka exists only in Guadeloupe, a very different island from much of the Caribbean, in that it remains a ‘department’ of its original colonial master, France. Here, the currency is the Euro and the baker sells croissant and café au lait.

This constant ‘European-­ising’ of the island means that Gwo Ka plays a fundamental and important role in the defining of Guadeloupean identity. As an African-­derived music, its position as a counter-­balance to French influence means that the definition of how and what Gwo Ka represents is also in a constant state of flux.

These new recordings show how Gwo Ka is both a modern Caribbean music form and one firmly rooted in ancestral history.

Over the last 20 years Soul Jazz Records have been documenting and presenting the often hidden histories and deep musical worlds of Cuba, Haiti, Jamaica, Belize, Trinidad, the Bahamas and more. This documentation encompasses reissuing lost recordings, such as the mighty Studio One catalogue of reggae, producing films/dvds (such as the 3-­hour documentary Mirror To The Soul in conjunction with British Pathé, and Dub Echoes), books (check the forthcoming photography book on the Caribbean 90 Degrees of Shade, with text by Paul Gilroy, and Kanaval) as well as travelling to the region to produce new recordings.