Search:late

Stunning big band music from Finnish composer Kerkko Koskinen with saxophonist Linda Fredriksson and UMO Helsinki Jazz Orchestra. "Agatha 2" is an album that continues the saga from "Agatha", released in 2007. Koskinen composes highly dynamic, emotive and expressive music for Finland's premiere jazz orchestra UMO. Linda Fredriksson (lately present due to their very successful album "Juniper" on We Jazz Records) shines as the soloist, who understands Koskinen's vision in its entire potential. This is cinematic, moody music for of the large canvas. The album also marks the first new release for Helsinki's Ricky-Tick Records (in collaboration with We Jazz Records and Grotto Editions) for over a decade.

It’s difficult to describe Partiboi69’s sound; words feel subordinate to the energy and personality he presents. This personality bleeds into his sound, as seen with his latest EP ‘Naughty By Nature’, in which the Aussie enigma brings born boundary-breaker MCR-T into his ‘naughty’ nirvana.

Bridging the gap between Techno, Hip-Hop, Trance, Booty House, and a further multitude of other genres, MCR-T is, like his partner in crime for this EP, Partiboi69, equally difficult to categorise: a compliment that few modern artists can claim. His pioneering mentality makes him a perfect fit for Mutual Pleasure; a label that bulldozes genre boundaries for fun.

From the sweet, funk-infused bassline of ‘Go To my Show’, to the devilish ‘Blow My High’, to the wildly outlandish anthem ‘Sex In The Club’, and ultimately the brazen ‘Get Freaky’, every track within ‘Naughty By Nature’ has a mind of its own, and its own unique character.

To partner the infectious production of each track, both Partiboi69 and MCR-T flex their muscles with vocal work, as the pair masterfully manipulate the microphone to create a dynamic element to their sound; one that is totally controlled by the devious double act.

Despite their differences, each track shares a common ancestor in Partiboi69 and MCR-T: mischief, rebellion and exuberance are deeply embedded into their DNA, and consequently, these qualities characterise the overall personality of this EP.

Alvars Orkester was formed in 1987 in Johannishus, a small village in the south-east of Sweden by a group of young boys interested in the mysteries of psychic sickness, mental institutions, industrial music culture and the power of sound. For the first very creative years, Alvars was very active within the independent cassette culture scene releasing their stuff (that quite soon drifted from the industrialism inspired by Test Dept, TG, SPK and z'ev to an atmospheric, psychedelic and quite ambient version of noise) on small labels in Italy, Portugal, USA etc.

Joachim Nordwall writes: "1990-1991. In the middle of all teen confusion going on, me and Zwarre had a long creative time together. Recording every weekend, connecting with like-minded (or at least we thought so) people around the world and trading tapes with whoever. Our world was analogue synths, Party Zone late Friday nights on MTV, zines and out-there experimental music. By then, we had a few tapes out and had "Nobody Finds Nothing" being released on the Italian super-label (in our opinion) Biotope Art Organization. We were in the midst of something and recorded "Nuthull" for another Italian top level label called Old Europa Café. However, they did not like it and the tape was abandoned and forgotten. Then years and years later, close to present time, Zwarre was in touch with OEC for some reason and had the master returned." - Joachim Nordwall, Gothenburg, 21 February 2023

Recorded in late 2021 and early 2022, Cryptic Lexis features two long-form pieces connected by field recordings made in The Shetland Islands in 2019.

The wind through a gate on a Bressay hillside is mixed with cascading guitars and minimal electronic percussion on "Confetti for the Flames" and recordings of Bains Beach form the backdrop of "Out on the Coast the Spirits Are". Paris based artist Graziella Torrigiani contributes words and voice to the latter, her text a direct response to the instrumental track.

We've been writing new material as a trio since the first lockdown in the spring of 2020. 
An organic and electro-acoustic impulse that translates both mine and Eliete's need of self-archiving, 
re-inventing and auto-cannibalising Tetine's past, present and

future in order to explore other aural 
landscapes and modes of composing intuitively, while at the same time, re-experiencing moments of our 
trajectory as a hybrid organism. 



Music For Breathing was born as a respiratory, meditative, and improvisatory piece of DIY 
tropical-mutant-punk "chamber music" written for cello, voice, piano, organ and electronics. 
The work responds to the suspended acts of breathing and vertigos experienced in contemporary polluted
 environments in political, social and philosophical transitions, whilst investigating the 
secret ontologies of inanimate objects and architectures, as well 
as the echoes and ethics of modes of operating things. 



Recorded during the intense period of heatwaves that hit London between July and August 2022, in 
a small studio set up in our flat's kitchen - so that we could capture the acoustic instrumentation 
(in particular, for the recording of cellos) without much

noise interference from the street - 
this vinyl version of the album comprises of 5 distinct yet complementary reflective movements. 


Musically and lyrically, it explores the atmospherics and syntaxes of time and space, voice, rhythm, 
as well as themes such as hearing loss, menopause, pollution and respiration. It builds an expanded suite of unexpected 
electro-acoustic textures through repetition, minimalistic motives, simple melodies, chromatic 
developments, free counterpoint and atonalism. Conceived as an ode to the poetics of slowness, 
the sounds you hear give continuity to the music we composed for the performance-film 
The Ether - Prelude No.1 over the first lockdown in 2020 as it simultaneously explores the warmth, 
melodiousness and power of the cello in conjunction with electronics. 
Music For Breathing evokes this transitory moment: a place and time where language runs out, 
communication and information lose their functions, sound and meaning do not correspond. Facts do not correspond to contexts. Spaced Out in Paradise. The last degree of the structure, the 
loss of memory. The lost voice.


The album also features our 12-year-old daughter Yoko Afi on cello and vocals. It reflects 
a period of free sound experimentation influenced both by romantic composers of the late
 19th / early 20th centuries and contemporary electronic music. The pieces you hear were composed, arranged, and recorded 
with the joy and melancholy of "those who do not know". In other words, "with the arrogance 
of a second childhood" as Derek Jarman once put it. 'Agile and candid as a child'(1).

1) Manifesto da Poesia Pau-Brasil, Oswald de Andrade, Correio da Manhã, 18 de Março de 1924.

NYC’s Jkriv delivers a package of proto and golden era house re-edits for longtime pals Pleasure of Love.

The Razor N Tape label co-founder has reliably delivered dancefloor ready cuts on Z Records, Glitterbox, Barefoot Beats, Rocksteady Disco as well as his own imprint. On his first Pleasure of Love release Jkriv explores house in all its NYC glory; extending the energy on mid-late 80s proto (Got a Thing, Don’t Take Your Love Away) and masterfully looping and building tension with underappreciated early 90s house (G.D., Feel It). Expert level re-rubs by one of NYC’s finest producers.

Dynamite cuts release a first-time masterpiece The George Semper Music Archives & Dynamite Cuts Records
“Knowbody’s Gonna Love You” is a masterpiece vocal demo written by George Semper almost 50 years ago. Lost and almost forgotten, lying dormant on a master tape recorded late 60s. Such a wonderful and fresh song, perfect swing and groove.
Finding this demo completed the puzzle with an unknown one-off press acetate record. That was within Georges collection, now we know he had wrote it. The acetate was titled “Knowbody’s Gonna Love You” Joanne. With a little more investigation Joanne became the lesser known soul singer Joanne Vent. She recorded one LP on the label A&M back in the late 60s, which just happened to be the same time George worked for the label… One off press limited edition x400 copies with heavy card sleeve

500 copies

Wow, I thank you all from the bottom of my heart for the support with Dynamite Cuts since 2017 when I opened a Pandora’s box of 7” gems. When I thought about starting DC, I had a list of around 100 album tracks I wished I had as a 7” 45. Now 5 years (2022) later my list of 7” delights have become true. In the late 80s, I picked up the Frank Strazzeri “After the Rain” LP, which totally blew me away. Now, all these years later, these three magical choons have the honour of being my 100th release.

These titles are first time on 7” vinyl and all cut @ 45 rpm. An unmissable, perfect Jazz funk release

Italian DJ and producer Francis De Simone debuts on Lee Foss and Jamie Jones' label Hot Creations with London Bass. Having built a solid back catalogue in recent years, his first Hot Creations release embodies the dynamic sound of the Palermo-born artist, channelling chunky tech house and disco-flavoured melodies.

De Simone explains his creative thinking behind the EP. "These tracks fully express my devotion to music. I ranged a lot, trying to remember an 80's sound up to a more raw and synthetic groove with Latin vocals to embrace the different ethnic groups." Reflecting his thoughts to a tee, the title track rumbles with a massive bassline and chopped-up vocals that add an instant burst of energy. Things get weird on Saludos A Todos, as thumping kickdrums collide with a trippy melody and even trippier vocals, creating a wavey atmosphere. The ideal club curveball. On Off White, De Simone delivers a pacey number packed with burbling beats and clicky percussion, complemented by dreamy vocals. The hint is in the name on closing track, This Is Undergound. A big room delight, De Simone drops a stripped-back banger, where the lyrics do the talking in tandem with a driving bassline. An excellent addition to the Hot Creations discography.

Based in Palermo, Italy, Francis De Simone stems from a family of musicians. Having played the drums from age two, the versatile artist can make anything from rock, pop and jazz, but these days, De Simone pens electronic music. His father worked as a bouncer for various local discos and exposed De Simone to dance music from a young age, later inspiring him to produce house and techno with an uplifting tint. Releases on Glasgow Underground, LW Recordings and REALM Records have helped shape the profile of this flourishing artist, with plenty more to come further down the line.

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

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

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

Double Touch return to All Day I Dream label to release their four track EP, Storm. The duo is joined by Reigan, who contributes vocals for two tracks on the EP.

The EP kicks off with its title track, which features vocals from Reigan about power, control, and the bliss of surrender. Reigan and Double Touch are frequent collaborators; Reigan has contributed vocals for past Double Touch EPs released on All Day I Dream, TRYBESOF, and Magician on Duty.

Complex layers of percussion commence the record. Over the course of the introduction, melodic elements are slowly incorporated, crescendoing as Reigan begins to sing the first verse. The track breaks down around the midway point - as the percussion fades away, Reigan’s voice is highlighted, and tension builds. After the next chorus, the drums are reincorporated, as latent energy is released.

Regarding her lyrics, Reigan said: “The feeling of surrender comes during the melodic change in the chorus. I say “take hold of me” twice and then when I say “and you take all of me” the lift in the note feels euphoric. This is the surrender to power. ‘Storm’ is a dance of power and passion, pleasure and control. It’s leaning into the bliss of surrender while exploring the indirect holders of power in doing so.”

grey marbled vinyl / incl. dl code

Full artwork - Special Edition 3 x 12" solid white & grey mixed (Ash Grey) coloured vinyl. Housed in book-opening gatefold sleeve with a gloss varnish finish.
Each individual vinyl is housed inside a custom printed sleeve. Includes download card.

Plays on 45 RPM