House Vinyl New Releases - News

Lobster mainstay and breakbeat wizard Coco Bryce follows up last year's Deep Into The Jungle EP and a wicked label-artist clothing collaboration with four varying cuts of 160 energy; spanning half-time chops, devastatingly beautiful jungle and lounge-bar breakbeat aesthetics.

Eagle-eared listeners will have listened to these already through the Dutch producers Balamii Radio show, where he has welcomed fellow label regular Amy Dabbs and footwork-jungle flag flyer Sherrelle recently. Through various aliases and musical projects Coco Bryce has always had an infatuation for bass-heavy sound, and the last couple of years have seen him settle quite nicely into one of jungles finest contemporaries alongside the likes of Sully and Tim Reaper.

‘D.L.P’ showcases this wicked ‘n’ rough energy brilliantly; old-school movie samples add a degree of depth and emotion to whiplash breaks and eerie pads before ‘Velocity Of Love’ takes us on a romance-induced trip through arcade-style keys and driving percussive beats. An explosion of love and lust in the club.

‘Twenty One Lies' swaps the club setting for a dimly lit bar in Peckham; jazz influence shines across this energetic yet home-listening ready cut of breaks, before ‘Wuthering Heights’ half-time identity transports us to the roof of the building, peering through the concrete jungle as dark turns to light.

Berlin-based producer Rampue has not released an album in 14 (in words: fourteen) years. Between 2008 and 2020 he toured the world and worked mainly on his live sets in the meantime. So now only a worldwide pandemic had the power to prevent the traveling musician from continuing this hustle and bustle and eventually share a new record with the public. Corona was what brought this standstill and the otherwise well- traveled individual experiences cabin-fever during lockdown. Hence, the new Rampue album "Tragweite" came into existence in February 2021, which portrays the artist's desire for experimentation.
Inspired by a modular synthesizer (Buchla), Rampue has seemingly put himself into a kind of trance, in which he lets the machines work and combines randomly created sounds with airy structures such as low drums or simple grooves. Rampue accomplished to break free by using random sounds as a new impulse and a way out of a creative crisis, which stemmed both from the enforced home isolation and from the self-perceived paralysis. The result is literally unique, as many of the sound products cannot be reconstructed and are preserved in album form for the general public.
Listening to "Tragweite" one gets the impression that the dialectical relationship between chaos and order, further supported by its production, is the defining theme of the album. After an initially perceived chaos, a delicate order, which is determined by structuring drum patterns and basslines, takes over throughout the course of the album.
Later, it frays and loses itself again in sounds and tones created mechanically However, it never seems arbitrary, but willful and skillfully staged. For instance, "Furo?" begins with apparent arrhythmia. The combination of bass and subtle percussion, however, gives this arrhythmia a shape, guiding the track which gradually becomes more and more driving without losing its original playfulness.
Although one might be inclined to think of genres such as Downtempo or Ambient at the beginning in the further course of the album results in such a diverse sound and rhythmic landscape that one willingly questions one's own perception of music while listening and finally throws every type of categorization overboard joyfully. The listening experience is too intoxicating and enlightening to stick to simple genre boundaries. The musical spectrum ranges from straight arrangements that live entirely without a drum foundation ("Fu?r Dich") to almost meditative sound collages ("Regengesicht") to the four-to-the-floor banger "Kembang" which adds a grimmer note with a certain industrial appeal to the overall rather melancholic-progressive curation. "Direct Faden" on the other hand, surprises with its simple guitar-based foundation on which the omnipresent synth snippets and pads are allowed to let off steam towards the end of the record. The track that most closely combines the progressive production style with a danceable club atmosphere is probably "Phobia". Wafting, partly breaking away synthesizer sounds rise higher and higher, while the driving mixture of bass and drums consistently march forward.
Rampue breaks with his old, musical habits as "Tragweite" creates the impression of improvisation and jam character without getting lost. Rampue takes his listeners on a journey that is stirring and moving, sometimes demanding or even a bit disturbing, yet always one thing: incredibly exciting.

Hiatus has finished, new wax is molded and Vakum spits out their celebratory tenth release. Warped Reality EP revisites galactic and spacious backbone sounds from not so long ago infused with fresh production spices. In this case, Cosmic G & Laars, the duo which grows from the new Serbian batch. Take a listen to this five-tracker riddled with space blasters and hypnotic segments.

A1. Flowing through interstellar space, B Star revisites some well known and loved sounds from early hypnotic era of electronic music. Upon arriving to the quazzar crossroads it also dives into breakbeat moments just to be reformed into acid sphere once again. A touch of trance goes a long way.

A2. Sometimes you hear a track that resmebles multiple tracks combined. This is just the case in Terestrial Dreams. Filled with dreamy and galactic delays it pushes itself into endless progressive spiral of heavy bassline, smooth perc shots and otherworldly segments.

B1. All about the cosmic ride in a night train between two planets. Along the way it pasess through multiple sound stations and realms inviting even more passengers for this sparkling night out. Pure delicacy!

B2. Broken beats, scrapping vocals and intermitting bassline. Babble is inhaling acid hits from

the sorroundings and projects them onto punchy snares and raw rhytmics to be carried further into old school babble beats. Perfect B side.

B3. The outcast. The villan. The bad guy. Slow and ominous pace bundled with serious bassline sequence that goes into offence during the vocal break. This burner really stomps heavy hits onto you and smashes every sonic valve while pouring acid. "Oh, well, allow me to retort."

repressed !

For the 20th edition of "Parquet Most Wanted" we present you another 4-track EP packed with beautiful melodic House & Techno productions, dancefloor-proved and worldwide supported by international tastemakers! Incl. music by Solee, Several Definitions, D-Nox & Gai Barone and Convolute! 100% must-have!

Akasha System – Midnight Tide

Philip Sherburne once described the Oregon’s producer as follows: the closer you peer, the more Akasha System’s seemingly uncomplicated music turns out to be something like an interdependent system, a dynamic landscape of give and take. This sense of interdependence is deep and alive. Still relevant today of Thompson’s sound signature. Blooming interconnected soundscascapes that channel house, IDM, ambient and timeless dreamy synths.

Tape Hiss – Scirocco

A soft wind blows from sea to sea, carrying with it siren songs of gentle piano and hope for a brighter future.
Emotional dance music from the Brooklyn producer.

Manuel Darquart – Low Tide

Going back to what makes us happiest. ‘Low Tide’ is the sister track to our Italo-inspired ‘High Tide’ tune from our Infinite Pleasure EP. 606 Hats, 808 snares, and of course the Lately Bass punching through some wavy Juno pads. Name us a better combo, we’ll wait.

Cosmic Cherry – Malibu

After making it through yet another lengthy and grey Berlin winter, DJ and producer Cosmic Cherry put together “Malibu” to have you dream of warmer, friendlier places. A summery, mellow house track with airy vocals and a punchy bass line that takes you to your favorite destinations. Using her own voice in German, she longs for those times where you can smell the saltwater in the air and dance through mild summer nights.

Nicodemo – Esmeralda

Nicodemo gets back to his own imprint with his italo touch, balearic infused; a hypnotic and effective track that jacks your body with plenty of hands-in-the-air synths, a pumping bassline, and rhythmic elements rising to a harmonic crescendo.

(Ciel & Bakongo Remixes)

Adam Curtain turns out a record of breaks, electro and bass-heavy tracks. Includes a 140 remix from the legendary Ciel and also a UK Funky tinged remix from Bakongo (aka Roska)

DJ Support from
Danielle, Two Shell, Midland, Dr Banana, Daisy Moon

Label mainstay Obergman returns for a second emission after his celebrated Quantum Eraser. Over 6 tracks the Swedish producer delivers a set of icey, stirring workouts primed for the dancefloor.

Hot on the heels of the success of the Phonica AM’s debut release, lable curator Luther Vine has un- earthed another rare find. London based Subb-An is no stranger to all manner of Tech and Minimal sounds. He’s well known for the high calibre releases on his own One Records and countless seminal releases on lablel far too many to mention. Yet on ‘Synchronicity EP’ you will discover Subb-An like you’ve never heard him before. The newly found sound that he explores here with ease and panache is both steeped in 90’s history yet with knowledge of modern dancefloors.

The tight and driving opener ‘Synchronicity’ is sharp as a tack. The relentless kick of the 909 is pep- pered with Acid-tinged synths. A banger by all means, yet due to the eerie sensual vocals the overall feel of the track is positively hypnotic. It is followed by ‘Salvia Apiana’. The track evokes the Tribal rites with its gamelan influenced arrangement and superbly inventive use of playful arps. This melodic yet danceable sage scrub is guaranteed to rejuvenate all manner of tiered dancefloors.

The flip side opens with ‘Higher Frequency’ and travels far beyond the straight forward beatscapes of obvious and mundane. It resonates on mystic frequencies of Techno spectrum but remains infectiously danceable at all times.The closing track of the EP is an understated meditative masterpiece. ‘Atlantis’ takes bright jubilant semi-tones and sees them timidly burst through the artfully constructed dusty soundframe. The more you listen to it the more you will hear. Pure magic.

The Handy Records crew return once again with a stunning EP from none other Mr Bobby Cazanova.

A1 is an absolute gem. Nostalgic, catchy, euphoric and all-round feels. Just what we needed after the 2 year hiatus from nonsense. It’s a speedy emotive number with all the bells and whistles for a great time. Definitely one for the 6AM sunset. Following; the A2 is a sub aquatic bubbler. Low slung bass and rich strings lead this into a deep technical groover. Again Bobby has nailed the feeling of having heard this before but never quite like this. The A3 is something quite special. Acid lines and driving bass make this an absolute heater for the floor.

On the flip we have another fast-paced rhythm. This time capitalising on the darker side of Bobby’s mind. Between pulsating baselines and inquisitive synths there is an emotive and paced production that is sure to get people moving. Rounding off the EP is a darker piece. Glistening pads and pensive arpeggiation make this a slow but sure burner for the dance floor.

David Jackson brings some fresh house sounds to a new EP on Denis Sulta's Sulta Selects Silver Service label. The Half-Irish, German-born young prodigy, Jackson broke through on the scene with his massive track “Broken Heart” back in 2020, and has often been championed by the likes of Annie Mac, Pete Tong, Gerd Janson, & DJ Seinfeld, to name a few, and this EP is two tracks that would light up any dancefloor.

He kicks off with 2020 Eurotrance Track, a big tune with hands-in-the-air chords and chunky drums. It's peak time festival tackle that will unite crowds of any size, in a classy but good time vibe without a care in the world. I Wanna Dance With Daisy is littered with old school video game samples and a wonky bassline. The beats are metallic and edgy, the vocals cut up and the whole thing is sure to boggle brains on the dance floor.

This is a high impact EP ready to make its mark this summer and beyond.

For their ninth iteration, Hamburg's The Press Group punches back in with the sizzling hot debut to a VA series bound to scout and shed a broader light on exciting artists from various territories and backgrounds.
Pulsating to the bone, "Future Prospects vol.1" showcases a quartet of heaters courtesy of Germany-based Robert Dietz and Aii PS on the A-side and Kyiv-based Vlad Stuparenko & Ghetto Sunrise plus Sasha Zlykh on the flip. Either sides of the
disc inbound for optimal and non-pareil impact on the dance floor. Dietz's "Salbung" paves the way old-school style, grinding everything from lethal breaks to rowdy drums, via lysergic synth flights straight out a wild sci-fi scenario.
Aii PS' bouncy and oneiric contribution "Donteven" is more of a low-slung affair with its mischievous fusion of filtered synths and acid-informed bass spurts painting the sky all shades of radioactive green.
Flip it over and Stuparenko/Ghetto Sunrise's stealth, aqueous weapon "Pine Water" ushers us in a corridor of groove-enslaved echolocation, delayed stabs and propulsive bleepin' n bloopin' from the depths. A further dusty, shuffling affair
blazing with clanky hats on a Chicagoan tip and futuristic electroid inflections, Zlykh's "Pidozepam" tops it all off in implacable fashion, casting a spell of exquisitely thrilling menace upon the ravers.

El Absurdo comes as the first Release of Colombian label Disidencia Records.

An EP made up of 100% synthesiser sounds that navigates through the realms of Electro, Techno, EBM and Breaks.
These genres get all tied up in this 4 track instalment with brief Spanish lyrics that question some of the reality of South-American society.

The second release from Edinburgh-based rave Headset, showcasing unsung Scottish artists making alternative house, techno, garage & breaks in dubby styles.

Unknown producer Capricorn One provides 3 tracks of finely engineered Broken Techno & Dubstep, finishing with a dubbed out House jam on track 4.

Pressed on heavyweight 180g vinyl
Mastered & cut by Optimum Mastering in Bristol (Livity Sound, Tectonic, Pressure Dome)
Pressed by Mobineko (Taiwan)


DJ approved by Hodge, Peverelist, Yushh, Chris Farrell (Idle Hands), J Wax, Feena & many more


For fans of Hessle, Livity, Dubstep, UKG & Sound System Techno.

Gottwood Festival residents, Jive Talk return to their Not For You imprint with two club-ready tracks that are already in the bags of The Ghost & Tristan De Cunha. Two considered and versatile house cuts with breakbeat elements, 'Pummas' and 'Effin™ And Jeffin™™ showcase the London duo™s penchant for producing danceable heat perfect for sunrise or sunset.

A true love letter to house music, Larson presents his account of the ubiquitous dance music genre diving deep into its origins. Connecting the dots with some of the genre’s most beloved innovators such as Larry Heard, Boo Williams, Ron Trent, Chez Damier or Chris Brann, the Belgian producer pays tribute by adding his own emphases. Setting a bright mood, at times aiming for the dance floor, at others comforting the listener into a casual vibe, Larson is not seeking, but spontaneously drawing attention with his graceful sounds, stripped to the bone and built on an intuitive factor.

Larson hails from Liège, the South Belgian city known for its meat balls and the mighty river La Meuse, and works as a sound editor in movie production. Recognised by those-who-know as one of the most quintessential figures of Liège’s burgeoning underground nightlife scene, the time is now for Larson to step forward. His 2x12” debut release dubbed ‘Interlace Joy Motions’ is one for the house heads, shifting between 121 and 130 BPM and showcasing the diverse sounds the producer has in store.

Opening track Our Inner Sun has smiles written all over. A simple yet effective piano loop, warm strings and a delicately running acid baseline are all Larson needs to set the standard for the beauty that is yet to come. Effortlessly entertaining for close to seven minutes, here is the essence of timeless house music at work.

Pushing up the speed up to 129 BPM, A2 brings the brand new label’s title track, Larson’s take on the many meanings the name may represent. Designed for jubilant dance floor action, Hi Scores is punchy and elegant at the same time.

On the flip side, Slack Breeze is an eleven-minutes-long breezy electro trip paying homage to Detroit music pioneer Juan Atkins and offers two mixes, nicely manufactured as one auditive whole on the vinyl record with a useful visual marker in between. Be aware of the slight tempo drop between the bold Club mix and the more laid back Sensual mix.

In a cultured and charming manner, Lethal Dance opens the second 12”. Driven by a fab bassline and soft as silk string arrangements, here is a slow burner for moments lost track of time. High Jazz Travel on C2 continues this trip to lofty spaces, speeding up the pace but holding on to Larson’s well crafted dream universe, with its mellow aura almost turning into a debonair lullaby for grown-ups.

Adding another layer to the cake is Chris ‘Funk’ Ferreira, the C12 resident DJ and ½ Senga Ferreira. Also active as the mixing engineer of this double 12”, on the D1 the Brussels based producer takes up the role as remixer with his stomping and energy building ‘Magic Force’ version of Hi Scores, contributing the single vocal sample to the EP. Things come to an end with Souvenir d’Enfance, a playful and innocent conga driven house track, cherished as a safe and sound childhood memory, forever in our hearts just as this excellent debut by Larson.

Being somewhat of a conceptual experiment. All the artists on this album were asked to imagine fusing Acid and House with the Virtualsex LP which was released on Buzz in 1993. A 303 sound would be welcomed but not essential with an emphasis on soulful emotion and melody.

Each record comes with a individual digital download code

Seit jeher ist die Natur für den Künstler Dominik Eulberg eine Quelle für Inspiration, ein Ort der Kraft und des Rückzugs. Nun veröffentlicht der studierte Naturschützer sein sechstes Album: Avichrom. Dieses Kunstwort bedeutet soviel wie "Vogelfarben". Denn Eulberg widmet sich diesmal den Farben im Gefieder von Vögeln, von deren über bordenden Vielfalt es elf in die deutschen Namen heimischer Vogelarten geschafft haben, von Grünfink, Goldregenpfeifer über Blaumeise bis hin zu Purpurreiher und Schwarzhalstaucher. Sie dienen ihm als Führer auf seiner musikalischen Expedition in die Ornithologie. Eulberg zeigt sich hier als ein hart arbeitender Handwerker, als jemand, der alle Schritte der Produktion von Grund auf beherrscht und versessen an kleinsten Details feilt. Avichrom ist in dieser Hinsicht konsequent für den im Westerwald lebenden DJ und Produzenten: ein Werk, das im besten Sinne des Wortes zeitlos ist. Es läuft nicht Trends der Gegenwart hinterher, sondern schreitet auf dem eigenen Weg voran, den Eulberg seit frühester Karriere eingeschlagen hat und der ihm zahlreiche Preise und Chartplatzierungen eingebracht hat. Entstanden ist mit Avichrom ein Album, das schon beim allerersten Hören berührt, das aber dennoch bei jedem weiteren Mal neue Details offenbart. Ähnlich wie bei einem Gang durch die Natur zeigen sich immer neue Strukturen, immer andere elaborierte Verästelungen denjenigen, die genau hinhören: erst mit der Zeit zeigt sich die wahre Schönheit, die sublime Komplexität.

Landing this summer is a fantastic body of work from talented Irishman, Tr One, and quite notably the inaugural release on his own “Intrinsic Rhythm” label. His debut album “From The Studio Of” is a masterpiece that maneuvers between innovative strains of deep house, spaced out electro, and discerning mellow techno; the studio album spans across fourteen tracks including an acid tinged remix from, Cignol, and some stellar input from, Mihail P. Continuously inspired by the greats, and drawing influence from an array of sounds of the past whether that be, Chicago, Detroit and beyond, Tr One has now found himself with a cohesive series of tracks that speaks with power and creativity, and will see the light of day on both 2 x seperate 12” EP's and digital.

The first EP cruises into “Pitchshift” a deep, and melodic Detroit beatdown influenced trip featuring the vocals of Elaine Dowling. “Turning Point” drifts you up a notch, emotional synths breathe life into the crisp drum arrangements, but never getting carried away. The intelligently constructed “I’m Dreaming Again” sways gently in the realms of the after hours, hypnotic and captivating sounds from the Carlow based producer. Maintaining the enigmatic mood is “Stay Offline” a distinctive bassline drives the track allowing the other elements to converse peacefully. Cignol’s remix of “Turning Point” brings a new acid dynamic to the album, squelchy lines bounce around tidy drum work.

Laurent Garnier - The album is GREAT …. BRAVO Mister

Ben UFO - Thanks Eddie, sounds great as usual!

Call Super - think faux outrage my fave piece on there

Also dj support from Santiago Salazar, Eamonn Doyle and more

Dreamy blissed-out breaks from Eversines - including a special Eris Drew remix - released on Job Jobse's De Vlieger label.

It is said, study, work hard and life shall reward.

Be good unto others and life will be kind to you.

The question is, can you break free from the external constraints of control or do you negotiate your release.

Should one endure the seemingly eternal struggle, wielding equality as a spearhead of revolution ?

Or do you count your loses and move on to a new world where the lessons of the past are acknowledged ?

A fresh start without the weight of having to shield your liberty.

A place where all past wrongs can be made right and the tentacles of evil can not reach.

A world where legacy can be held in esteem.

BRUCE, K-LONE, RHYTHMIC THEORY AND GLANCES line-up on this tearing 12" comp. TIP!

The 12" brings these four artists who have close ties to Chris Farrell’s Bristol based label and shop.

Bruce with a contemplative dancefloor dub in tribute to Alex T, esteemed Leeds record shop worker and DJ - sadly taken from us too young.

K-LONE delivers a subtle and subby house roller.

Rhythmic Theory makes a final appearance with a bumpy and bassy techno track.

Glances bring a deft funkiness to the broken techno sound.

This is the end of a chapter. The last Idle Hands release for the time being. The shop continues and new projects beckon.

The KLAD series makes it come back with the third output with more reinterpretations/remixes of inspiring tracks from the past. This record challenges the trainspotters for a game of sample hunting! Of course, like the earlier ones, there is loads of acid! Dope stuff from this Italian label.

AOW is a new collaborative project from Dan Ghenacia and Tolga Fidan emerging from a new period of creativity and inspiration for the Lisbon-based artists.

Long time friends and fellow lynchpins of the European house and techno scene, Ghenacia and Fidan started working closely together through 2020 and 2021 while sharing studio space at Boa Lab. They found themselves at the heart of an artistic community of musicians, designers and engineers, which took shape around Ghenacia’s experiments with alpha wave generation, inspired by Bryon Gysin’s Dream Machine.

Ghenacia and engineer Anine Kirsten developed a modern update on Gysin’s 1950s design, which has been installed at exhibitions in London, Lisbon and Paris. At its heart, the project explores the natural hallucinatory effects of alpha wave projections on the eyelids, and the therapeutic benefits of the experience. Out of this spirit of psychedelically-charged experimentation, Ghenacia and Fidan have been working beyond the confines of their typical club-oriented material, creating ambient soundtracks to artist exhibitions in Boa and auditory backdrops to Alpha Wave Experience installations.

AOW bridges the gap between this new period of creativity and Ghenacia and Fidan’s life-long passion for electronic dance music. Compared to the strictures of house and techno they’re best known for, the three tracks on Hear the Light explore a more open, inquisitive sound with roots in UK electronica and West Coast psychedelic breaks (a seminal scene when Ghenacia was in the Bay Area in the 90s). Crucially though, it’s not a pointedly retro sound, but rather a result of rich streams of inspiration meeting and passing through crisp, modernist production techniques to offer something
genuinely fresh on the ears.

Working outside of their comfort zones and guided by creative philosophies springing from research, shared experience and community, Hear the Light marks a new step forward for Ghenacia and Fidan, with many more developments promised for the future.

I hold Your hand Like I want My hand To be held. When we are young we show our love by emulating those we love. Tributes, respect, adoration, getting lost in things. Trying to become a person we wish to be. Hold that process and don't be afraid to let it always hold you too. Swallow Me is the result of playing Kamala Sankaram’s astonishing performance in clubs, of splicing it into and out of things, of those ideas taking on a little life of their own and connecting her ideas to new spaces and audiences. I Love Like Your Men is a tribute to the undated diaries of Samuel R Delaney, slices of time that cut themselves holes into other times and other places. Moments of reflection that now tie into the heads and bodies of others. Thank you to Kamala for your work, it’s clearly so inspiring, and for being supportive of this, which is humbling. Swallow Me samples Kamala Sankaram’s performance at the final Resonant Bodies festival in New York in 2019. “In Ancient Greek, ololyga is the ritual shriek of women, a sound so alarming to men that it could not be uttered within their earshot. Kamala Sankaram’s work was written as a direct response to the 2016 election.” It was released on New Focus Recordings.

Third iteration in OEW’s VA series, WITNESS03 brings over a fresh new quartet of heaters from another of its carefully curated cast of up-and-rising producers. Delving in the vaults of 90s rave, and spanning all things from atmospheric techno to spine-tingling bass, via electro, acid and further afield electronics.

Engaging first, CLJL flings a brick of breaksy sedition into the matrix with the mighty “System Research”. Fusing 303-emulated traction with jaw-crushing freq shifts, ruff snares and fluttering synth spirals gone astray, this one is pure woofer-busting material. Second in line, Naone “Silhouette” is an aggressive slice of dopey, bass-heavy cosmonautics, tailored to have the listener zoning out into a magnetic field of alien echoes, delays and reverbs.

Flip sides and here is LVCA and Sidd taking over your brainwaves with “Stranger” - a squelchy joint connecting the dots between Bochum Weltian spaciousness, pop-laced ethereality and a propulsive programming bound to astral project yourself into a whole other dimension. Last but not least, N-GYNN’s “Fire Rave” engineers a jagged and easy-going carnival of funkster machine talk, weird organic noises and sleazy boogie.

Sunny side up » is the first solo EP of JL., Paris based artist and Reshuffle music / Momo's Basement resident. The EP embraces a solar energy spread in four refreshing tracks, between house and techno. It has this sunrise galvanizing vibe, that you can enjoy either when partying late or waking up at dawn to welcome a new day. A game of contrast and textures, definitely positive.

Aksel & Aino are back with their unmistakable mix off deep analogue instrumentation and poetic vocals. Dreamy pop from Scandinavia that follows up their 2020 released album „Lullabies For Submarines“.
As always this caters to moments on & off the dancefloor.

"Sztossingery EP" (which means BANGERSSS in english) is the fruit of a creative agreement between BELMONDAWG (one of the most brilliant polish hip hop artist of the young generation) and The Very Polish Cut Outs.

The result are 6 remixes from Belmondawg's highly acclaimed "Hustle As Usual" mini LP that came out in 2020, created by some of the best Polish producers that are often associated with the label.
The EP starts with a massive remix from Schmoltz of 'Pappardelle Al'arrabbiata' - the Belarusian producer transforms the original into a 90's house anthem...
Next is the slo-mo heavy hitting remix for the cult track 'Te Tereny'. The side A closes with Speek's hypnotic and deep take on 'Wte i Wewte'.

On the flip we get another house stomper from Polotronic (1/2 of the duo Holiday80), a crazy re-interpretation by Tamten who transforms one of the skits on the album 'Agnihotra' into crazy and psychedelic 135 bpm dance floor affair and last but not least the record ends with the mighty Pejzaz transforming 'Te Tereny' into a breezy jungle like its the 90's again.

Sztosssingery is another surprising and well crafted addition to the TVPCO catalogue.

After a devastating opening salvo of 19 modernist rave mutations on a double tape pack for Sneaker Social Club, Minder lands on Hypercolour with another 19 cybernetic fever dreams still reeling from the open season NRG of hardcore.

If you need to understand where Minder wants to take you, strap in for the labyrinth narrative of ‘Knotted’, a smudged, 15-minute breakbeat suite barrelling through lurid dystopian street scenes with only a blown-out bass sprite as a guide. Throughout Sanctuary, bass is the constant when all else is chaos. It comes in thick, warped Reese tones on ‘Simulated Hunt’, gets twisted out through angry filters on ‘Popcorn Lover’, comes on wobbly in true 2-step style underneath grimey garage anti-anthem ‘Ard’.

There’s a lot to take in across the spread of Sanctuary. It’s the sound of every rave genre slowly digested over 30-plus years, until the lactic acid metabolises every snare rush, every searing lead line, every chipmunk vocal lick, and everything gets mashed up and spat back out into a gnarly signal chain at the flash point of inspiration. The time taken is key – this is the sound of a life in front of the speaker stack manifesting in something too wild and weird to be derivative. You’ll hear snatches of familiarity thrown into unfamiliar contexts, but for all the detectable lineage, Minder’s sound is unsettling in its originality.

Dislodged ragga jungle techno, muffled hardcore nightmares, hard n’ haggard acid trance, junked up jump up – you could write an essay on the sounds you can spot and the way they’ve been twisted. Aside from the omnipresent low-end, it’s the unflinching honesty of Korron’s repeat appearances on the mic throughout which bring Minder’s disturbing patchwork into focus. For all the futurism attached to these sounds, it’s also caked in a very human filth which can only come from this earth. The roots run deep, and the fruit is rotten, and isn’t that how it should be?

RONIN's first limited series crossing the UK sound, touching Drum n Bass including the Spaced Out remix by Andrea.

Velour’s highly praised debut album on WOLF Music sees four of its standout tracks remixed from WOLF family old and new. Mainstays of the label Frits Wentink and Hulk Hodn join forces with new link ups, Footshooter and 20/10, for this crispy 10 inch.

First up to bat, German beatsmith Hulk Hodn fires up the MPC and chops ‘Tom’s Garage’ into a hazy, head nodder before South London’s Footshooter takes ‘Into The Blue’ through a synth heavy whirlwind of broken beat grooves.

On the flip, and fresh off the back of his Dekmantel release, Frits Wentink stamps his idiosyncratic expertise on ‘Pose’ for a walking bass bubbler. Closing out proceedings, Velour’s very own Vinzent Wirth, under the moniker 20/10, reworks ‘Luminate’ into a Detroit influenced, jazz tinged, sunset house gem.

Uruguayans Luis Malon and Jorge Gamarra in his new alias Ecstatic are in charge of SUR’s ninth instance. House, Techno, Breaks, Electro and whatever ; Four mental and dancefloor tracks for the club or the afters.

Well who would have bloody thought it. 20 releases on Holding Hands. That is bananas to be typing that out. It’s been a hell of a ride and I am over the moon to be able to confidently sit here and say that I still absolutely love every single release that has been put out since the first back in 2017. What a bunch of absolute slammers!