House Novedades

The first release on Emile Facey's Plant43 Recordings sets the tone for his new label with a showcase of his trademark shimmering, melodic electro. The three tracks take the listener through an array of deeply emotional soundscapes while keeping the electro-funk beats to the fore, another outstanding display of a unique style nurtured through over 20 years of production. A co-founder of London's Bleep43 crew, Facey has been promoting underground electro and techno since the late 90's. As a producer he's been releasing records since 2005 with a string of releases on respected scene favourites such as Central Processing Unit, Frustrated Funk, Semantica, Shipwrec and Cultivated Electronics, among others. He has played live alongside DJ Stingray, ERP/Convextion, Surgeon, Legowelt, DJ Overdose, Urban Tribe, I.F., Svreca, Datassette among many others.

Infamous District is back after 4 years with a second release!
This time Pustota aka Lectromagnetique delivers 4 banging dark techno tracks , Lectromagnetique is known for his incredible electro releases .
This EP called Rascal EP produced by Pustota is a masterpiece , it’s the first time he produced Dark Techno , and will not be the last one , if these tracks won’t get your blood streaming , nothing will .
We at UMX are honored to release this EP , and we can’t wait for the next one .
Check out this release and i’m sure you will be hooked to the sound of this record .
Make sure you pre-order this one cause i got a feeling this one will go fast , make sure that you get it for your collection

Garies come through for Future Times! After putting a killer on the FIGS Compilation last year (the excellent “Don Bongo”), Lumigraph and New Jackson team up and go wild for a four-song collection. Again channeling a few sounds at once, Garies go up and down with the tempo from the lazer-and-dirt-soaked opening rumbler “Emergency Tenner” thru the Dance-Mania-off-the-rails energy of the B2, “What A Room.” Get In.

Horse Category closes out its first year with the third Phonopsia release, Peaks and Troughs, completing the reconciliation with older material that spans these first releases. The three slower techno tracks share little in common besides their tempo, while the faster closing track offers something more DJ friendly.

Hypnotic, scuffed dancefloor movements, dub-dilated drum workouts &
heavy-lidded ambient zones.
Made in Hong Kong before the storm, Manchester and Bristol.

Born and raised in Hong Kong, Scott Young’s music traverses a wide sonic palette, encapsulating leftfield dance music, musique concrete, experimental film soundtracks and lush ambient excursions.
Following a noteworthy appearance on Samo DJ’s Born Free imprint, a series of accomplished releases on Discos Capablanca and a mesmeric contribution to the 2019 Opal Tapes compilation ‘Amateur Vampires’, Young returns with his most significant output to date.
Comprised of five tracks that work towards different styles, ‘Ket City’ is intended as an intimate ode to the United Kingdom, and a response to the oppression of algorithmically filtered modernity and the drudgery of work. Diving into hypnotic, artfully fractured dancefloor movements, dub-dilated drum workouts & heavy-lidded ambient zones, ‘Ket City’ is a diverse prospect that nevertheless reveals the execution of a unique signature.

Limited vinyl featuring producers Seldom Seen, Force Placement, DELINSTR, and IvanAM. 4 underground trax ending out 2021 with this bang for your buck release!! L.A. West Coast focus: Caltechno, deep groove and electrofunk beats! Digital download code included (code sealed inside behind label sticker)

With MEL016, Melodies International are extremely proud to take one more step into house territory with their reissue of what certainly constitute the two most exciting remixes of Flame by UK Trip Hop group Crustation: New York House legends Mood II Swing’s Vocal and Borderline Insanity Dub mixes.

John Ciafone and Lem Springsteen from Mood II Swing grew up and met in New York City in the early 90s. They were club kids with roots in early hip hop, soul and disco and soon decided to start producing together. After a fateful encounter with Louie Vega from Masters At Work, Ciafone and Springsteen committed to pursue dance music, and given the opportunity started releasing their own records that would lead them to settle in as genre defining house producers celebrated by their contemporaries back then whilst informing and influencing the styles of many eminent dance music producers of today.

Flame was originally produced by Crustation, a Trip Hop group from Bristol formed by Ian Dark, Stig Manley, Mark Tayler and singer Bronagh Slevin, as part of their last album Bloom originally released in 1997 on Jive. The same year, Jive released a string of remixes including two from Mood II Swing included here on this release.
The vocal mix centres around full segments from Bronagh Slevin’s chorus and an incredibly satisfying progression of synth stabs based on the chord changes from the original which alongside Slevin’s silky vocals intimately captured the melancholy in the lyrics depicting recovery from someone’s unconditional love being taken advantage of repeatedly. However, Mood II Swing’s club treatment, subtle arrangements and sequencing bring an added sense of closure which feels somewhat cathartic and liberating, therefore resolving the song’s predicament. A true anthem for emotional dancefloors!

On the flip, we have Mood II Swing’s Borderline Insanity Dub mix which essentially discards the vocal version’s “song” aspect, focusing mainly on John Ciafone’s dexterous drum programming and an extremely simple and repetitive three note bass pattern, which alongside subtle use of overarching synth lines and chopped up elements from the original bring the track to an all time creative high shining in its full 7 minutes of dark, hypnotic bliss.

Both these remixes would go on to become club classics, the Borderline Insanity Dub mix in particular which embodies one of Ciafone’s brightest and most inspired moments in the studio, which would go on to influence a whole new generation of producers.

For Instance, in Floating Points' words:
“I first heard the Mood II Swing dub mix on a mixtape by Phil Sherburne maybe 13 years or so ago. I think a lot of things changed at that point for me. It was probably my gateway into dance music, I hadn’t heard a groove like it. But it also has the hypnotic and repetitive elements that make this a record that can help dig into the deepest end of a DJ set or push it to the exciting rolling heights. It’s a record with everything I love about the genre!!”

Presented for the first time as a standalone release, remastered to the highest possible standards and cut to half speed lacquers at 45rpm, Flame’s Mood II Swing remixes are presented in loud 12 Inch format!

Melodies seem to sprout from the hands of Reinhard Vanbergen. This Friday, the multi-instrumentalist releases his bundle of no less than three new albums. Has he been seized by some kind of spirit, channeling higher creative forces through his body? Or does everything he plays around with just seem to work? Whatever it is, we’re digging it.

The first album, Presents For Friends, consists of piano pieces, Stringworx is string pieces and Ubuntu dives into the world of the computer, as a mode of production and instrument in itself.

A release that resists categorizing. It flies from bliss to whim, flirts with the sensational and the silly. An immersion and a playdate, with beautiful melodies, masterful harmonic shifts, eccentric fusions and little moments genius scattered throughout.

limited press, be fast... order, to secure your copy!!

Second instalment on Derailleur’s own Decade Box imprint, featuring a rather good remix from Carl Finlow. Derailleur’s arp driven, sub heavy original gets a signature reboot courtesy of Mr Finlow. Dorsia’s Adam Reid switches up the vibe, taking a more breaks driven approach to Derailleur’s electro version. While Finlow adds the funk, Reid strips back the elements to reveal a starker, more urgent vision of the original.

Following his timely 2004 debut on Varial, Derailleur has also released on Dust Science, Soma and Harmless. With a strong commitment to hardware based recording and performance, 2019 brings in a new chapter for the France based producer and DJ.

For years, the vinyl 12 inches from the French Techno-house & New Beat label N9 were nearly impossible to find, and devoted Oldschool Fans kept asking for represses.
Thanks to a joint venture with fellow Belgian label Fenix Fire Records, the wait is over! Here’s a deluxe 2x12' compilation, on 180g marbled red vinyl in a beautiful gatefold package.

With 11 tracks spanning from the origins in 1990 to the rebirth since 2005, N9's most wanted releases are here, remastered by French sonic wizard André Dalcan, ready to get turntables at the right 33+8 mood, and get the white glove raised again!

The release also includes a digital version of the compilation, plus a 21 min megamix by Igor Altman, and 3 additional unreleased tracks, including the infamous cover of The Maxx's "Cocaine" in 2020

Double A-side 12'' by Agoria with some well produced modern house music with strong hooklines, full of tension, slowly building up.

First EP for this newcommer. And a good one. One side of pure electro trippy techno and one side for a solid 170 BPM electro tribe tune.

Exzellente Kollektion des in Kyoto geborenen und in Tokio lebenden, japanischen Digital-Künstler, Fotograf und Komponisten Osamu Sato mit exkusiven und bislang unveröffentlichten Ambient-Aufnahmen aus den Jahren 1993-2001. Osamu Sato began seine Karriere Anfang der 1980er mit ersten Tape-Releases und erlangte weltweite Beachtung durch die Produktion kultiger Videospiele wie "Eastern Mind" (Mac OS) und "LSD Dream Emulator" (Playstation), zu denen er auch die Soundtracks schrieb.

We are proud to welcome Fear-E for his Dark Entries debut ‘Grey Skies In A Dear Green Place’ out February 28th. Fear-E is the moniker of Scott McKay a Glasgow based DJ and producer. Scott has already made a name for himself as one of Glasgow’s most technically-gifted and diverse selectors over the past decade. Then a slew of releases on the home-grown Dixon Avenue Basement Jams and Super Rhythm Trax introduced Fear-E, equally skilled studio operator, to the world.

‘Grey Skies In A Dear Green Place’ contains six club-ready tracks to “smash sound systems and illuminate sweaty warehouses.” The title is a reference to a nickname that Glasgow has, coming from Cumbric, means 'green hollow' or (dear) 'green place'. Layering cut-up vocals with warm thumping beats, Scott creates a stripped-back yet deeply jackin’ vibe. Call these tracks what you will, “acid attacks”, “club destroyers”, “pickle ticklers?!” All songs have been mastered by George Horn at Fantasy Studios. For the cover, Scott commissioned legendary Detroit illustrator Alan Oldham, who’s artwork has graced established an identity for Transmat and DJAX-UP-BEATS, to create a futuristic portrait of Glasgow in black & white and with green kryptonite flourishes by Eloise Leigh.d

Heavenly Recordings announce the release of ‘Heavenly remixes 3&4 - Andrew Weatherall volume 1&2’, a brace of compilation albums collecting together some of the finest remixes from the label’s long-time friend, collaborator and go-to remixer. These compilations follow ‘Heavenly remixes 1 & 2’, which showcases some of the label’s other great remixes.

 By the time Heavenly was born in the spring of 1990, Andrew Weatherall was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead, thanks to the massive cultural liberation of acid house. Back then every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio!
Start a label! Just don’t stand still. Commandments Andrew would follow for the rest of his life.

 At the start of things, Andrew was a regular visitor to Capersville - the pre-Heavenly press office run by label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a
track that would later become ‘Loaded’, after being given an instruction to “fucking destroy” it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release
came about.

 Andrew’s mix of that first Heavenly record is very much a product of its time. ‘The World According To Sly and Lovechild’ is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at postShoom clubs like Yellow Book.

 His take on the label’s next release - Saint Etienne’s ‘Only Love Can Break Your Heart (A Mix of Two Halves’) - would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the
melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and
headphone psychedelia of the highest order - a perfect example of what he did better than anyone else.

 Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the
office, often in person for (at least) one ceremonial playback - a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.

 Each time, he would warp and twist originals into beautiful new shapes - elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.

 Andrew’s studio adventures would always be guided by that early advice to destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now - to thirty years of glorious outsider sounds - it bangs home again just how fucking good Andrew was.