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Locked-In is back in the game with its sixth release, The Amigos EP. This four-track exploration sees rising producers Andy Somoza and Juaan take the helm, crafting an EP destined for the crates of discerning DJs.

Leading the charge is "Disperso," a cheeky and extroverted anthem that injects chopped-up rave stabs and nostalgic vocal breaks into a tight rhythm section. It's a classic Locked-In opener with a fresh twist, sure to get bodies moving.

"5am" dials up the intensity with driving, compressed kicks and dry snares, exuding edgy confidence – perfect for those late-night warehouse sessions where the energy is pumping.

A left turn on the B-side. "Waita" ushers in a spooky atmosphere. Ghostly bells and wet synths dance around an electro snare and airy, galloping hi-hats, creating an intriguing and unsettling soundscape.

The EP closes with "Mi Partner," a masterfully woven tapestry featuring silky vocal samples, driving snares, and a killer bassline. This introspective track beautifully counterpoints the playful energy of the A-side.

Two titans of modern disco and funk unite to produce a present-day love ballad (or rather love ache), drenched in 80s nostalgia, complete with melodic arpeggio, thumping drums, electric guitar solos and plenty of vocoder action. Heartbreaker is the title of the project, brought to you by none other than Purple Disco Machine & Chromeo. The 12-inch is released with an extended cut alongside the original mix and an instrumental version for good measure. An upbeat electronic track with early Daft Punk influence

Upon examining the eventful life of Can bassist Holger Czukay,
one might conclude that this intrepid musician was a loner. His
turbulent career exuded an enduring eccentricity governed by a
boundless free spirit. Yet Czukay, who passed away
unexpectedly last year at the age of 79, constantly emphasized
that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an
anonymous manifestation that interacted with him through
radio waves or, as happened later, the internet. Nonetheless,
most of his partners were of flesh and blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast
worthy of a Martin Scorsese film. Only the most interesting
character actors were cast: Brian Eno, Phew, Rolf Dammers,
David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates...
the list could go on and on.
Many of these masterpieces are now out of print, so Groenland
Records, who already released the highly acclaimed
retrospective 'CINEMA' to mark the occasion of Holger's 80th
birthday at the beginning of the year, has taken it upon
themselves to release reissues of Holger's music in order to
make it accessible once again.

"This is a live album that was taken from the tour for YTILAER. Songs tend to mutate after they"ve been recorded. These songs were mutating faster than usual. Like whatever happened to Bruce Banner in the lab - I knew these songs were about to get superpowers. As far as I was concerned, this change needed to be documented. The best thing about documenting something is that it gives the creator permission to move on should they wish to move on. I usually prefer to move on. These songs were recorded in Chicago, America"s heart. And at one of the best clubs in the country - I try to only work with venues that are not entangled with LiveNation/Ticketmaster. Thalia Hall, baby. Stay free. The date was mid-point in the tour, so I knew we"d be as hot as we were going to get. Not too green, not too brown. There was the thought, "let"s take this op to make it something special." So we took advantage of Chicago"s easily accessible players - we got Nick Mazzarella to add alto sax to one song, and from the opening band, Pascal Kerong"A to sing on a song, and Nathaniel Ballinger on piano on one song - and I couldn"t pass up the opportunity to invite Joshua Abrams and Lisa Alvarado to play on "Natural Information." The hardest part of making the record was cutting songs out - it could have been a triple album. But I don"t know, maybe the show should have been this short?" - Bill Callahan

BRIDGE - CRYING FOR LOVE b/w LISTEN

Paul Tillman Smith is a significant figure within in the music community of Oakland/Berkeley, California. His connections and collaborations read like a who’s who of famous musicians.

As leader of 70s Buddah Records group ‘Vitamin E’ and then onto ‘Bridge’, the subsequent band cut an album in 1981 for the CBS distributed Bang label that never saw the light of day. It was released by First Experience Records as a double LP and CD in 1999 and is recognised as being one of the finest unreleased discoveries within its genre.

IZIPHO SOUL are thrilled to release on a 7” for the first time two gems from this magnificent body of work. CRYING FOR LOVE written by Paul Tillman Smith and Michael Robinson is perfection personified, from the production through to the lyrical content - and of course the sublime vocals of Debravon Lewis (RIP) the tone of her voice will move you to tears.

On the flip is LISTEN, penned by Paul Tillman Smith - a tour de force rendition by the late great Freddie Hughes with Sonny Lewis on sax, adding that extra touch of class.

The criminally underrated Sangre Voss kicks off the Third Place Dance Discs series in fine style with the aptly titled 'Dance Class' EP.

CMDRPX and RPX16035 present the first various artists in collaboration and unite the two souls that were already traveling on the same vibrations, opening the v.a is an iconic figure from the underground world, @francescofarfaofficial who with his "Soul Engineering" drags you into his world hypnotic, a fusion track that combines his unique style that looks to the future with bleep and acid sounds with a non-invasive groove that encompasses everything and makes the track one of a kind.

Also on side A we find @niki_ilb with his "Acid lover" track which focuses on an IDM sound and which opens the doors to a conceptual acid and Deep style.

@gianluca.pellerano opens the B side with "Stanza di musica", a record projected onto the dancefloor with hypnotic voices, sounds and textures that will drag you towards new musical horizons.
The B2 side was entrusted to @giuseppe__angeloro with his track "Mentalism dance" with a raw sound reminiscent of the 90s, an acid texture and present percussions that make the track evolve in a more introspective direction.

Lastly we find the duo @gianluca.pellerano & @caciotechnology with their "Mango bet" the two combine their styles perfectly the track has an Electro base with a texture projected into the future experimentation in this track is the key word.

Happy listening everyone.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

With Australia‘s dance music scene being more prolific than ever, it‘s only fitting that one of the continent‘s hottest tickets appears in the Running Back universe. Sam Alfred‘s debut on it’s subsidiary Misfit Melodies melts the old with the new, swings the hips with the hits and unites the past with the future. The man with the adorable underground white label mp3 Shine II Dawn under his belt, is not only a DJ to die for, but also a witty, interesting and most of all enchanting studio talent. Aptly titled Roadblocks, this 5-track-EP once more underlines his appeal: his-speed house and sprinkles of retro rave meet the melodies of tomorrow.
While My Heart and Back To sound like Strictly Rhythm tracks played by UK Garage DJs, Drift and Fortune are prime examples of Sam‘s production powers. last, but not least the title track is the result of a trip to Dekmantel and a nod to the proggy bounce of the 90s. Built with love and made to last.

2024 Repress

Deep Sleep Robot returns with another throwback excavating some of the rare finds. The second chapter of the series, a Various Artist four-track EP, timeless cuts from the archives.

The A-side, Ronin (aka. J. Axel) the man behind several albums on PlackTown Sounds, Plastic City and Driftwood brings us "Mysterious City", classic Ronin sound here folks this being one of the first releases by the artist back in 1998. Followed by Swedish producer Johan Bacto (aka. Johan Svensson) responsible for labels such as PlackTown Sounds, Everyday, Mankind, Zync, Countdown 2000, with his "Takemountain" the combination of these creates the reunion of the tracks previously released 24 years ago, sounds just as fresh now as it did back then.

The B-side Van Delta (Christopher Bleckmann & Hannes Wenner) a German duo in charge of EP's on Groove Attack Productions, M_Nus, Archipel, and Krush Grooves, gives us a nostalgic trip from 1999. "Adjust", with hypnotic keys and solid bass line building up the tension slowly but steadily creating the groove. The final track by Dav (aka. Davor Stosic) a Croatian artist B+Positive, Cove Recordings, and Sensei labels that regularly has been on Swag Records store shelves. "Flight", a fantastic example of late 90's tech-house. Hypnotic soundscape, variety of layers and a slow build up, giving the track an otherworldly feeling.

All tracks were produced between the years of 1998 - 2003, timeless and rarer then rare.
Order DSR002 now
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Triple Vision Record Distribution BV · Achterhaven 160 · Rotterdam, Zuid-Holland 3024 RC · Netherlands

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

REPRESSED !

Truly seminal MAW release from 1993. All 4 mixes re mastered from the DAT's and repressed for 2014.

Last repressed 14 years ago this is the perfect time to pick up this mint copy for your collection.

2024 Repress

After 7 years and countless requests, Sneaker Social Club finally deliver a repress of Dream Cycle - Part One.

After a chance meeting at Gottwood in 2016 a bond was established between Dream Cycle (Robin Clarke) and label owner Jamie Russell over a shared love of 2 Bad Mice and Moving Shadow. It wasn't long before Clarke began channeling elements of that influence to produce his Dream Cycle Part.1 EP. Unfolding over 4 steppy tracks and an ambient closer, Clarke melds sharp snares, summery motifs, dense atmospheres and thick subs whilst keeping things suffused with a distinctly UK quality that marries his work perfectly with the Sneaker catalogue.

DJ Support: Ryan Elliott, DJ Die, The Blessed Madonna, Octo Octa, Bwana, Altered Natives, Noodles (Groove Chronicles), Liem (Lehult), Deejay Astral, LA4A, 2 Bad Mice, Fred P, Matt Karmil, Flori, Marco Zenker, J.Rocc (lol at comment!), Ajukaja, Gnork, William Djoko, Till Von Sein, Fold, ASOK, Gene Farris, DJ bwin, Seven Davis Jr, TRP, DJ Octopus, DJ Normal 4, Gerd, Dean Man s Chest, Poté, Doc Scott, Violet, James Welsh (Kamera), Konx-om-Pax, Etch, Raresh, Hrdvsion, Michael Serafini (Gramaphone), Frazer Ray, DJ Guy, Mak & Pasteman, Shenoda, Urulu, Mark Archer & James Zabiela, Zinc, Lehult, Jackie House, Mosca, Noodles (Groove Chronicles) & DJ Die.

Washington, DC mainstay Samantha Park issues her debut release on Real Feel. The 12” ventures into breaky territories, with the A-side providing ethereal sounds on the title track, and percussive dancefloor action via “Dance for Me.” The B-side sees Baltimore house legend Karizma taking the reigns on the remix, leveraging chopped samples to freak a more orthodox house cut.

Kon AKA King of Nothing, mastermind behind many brilliant multitrack edits unleashes 2 brilliant mashup gems. 'Soul Bright' featuring Madonna’s beaming Lucky Star vocals blended over Saucy Lady’s 'Soul Amplified' instrumentation pulled from her 2021 Delirious EP, and 'Watchin’', Rockwell meets Saucy Lady mashup.

The Rockwell vocals adds to that intoxicating Mtume- like harmonies originally set by producer Yuki 'U-KEY' Kanesaka on The Garden, a track that was also released off of Saucy Lady's Delirious record that just got a tasty rework. Already dance floor tested and audience- approved with guaranteed dippin' quality.

Prolific visionary Yetsuby makes her debut on all my thoughts with a celestial concept LP that chimes into the deeper, inner emotions.

Yetsuby is the solo project of South Koren artist Yejin Jang. Since 2019 she has carved out a reputation as
something of a prolific visionary, with 6 albums, 7 EPsand a flurry of singles between her two projects to date. Her recent album “My Star, My Planet Earth” received the “best electronic album of 2023" award at the KoreanMusic Awards.

Beyond her solo work Jang is also one half of the critically acclaimed electronic duo Salamanda, which has been featured in Pitchfork, Crack Magazine, and Dj Mag. The duo also host a residency called “shadow dance” on NTS radio. Yetsuby’s debut release on Seb Wilblood’s all my thoughts label is a heartfelt and forward thinking mini LP.

Yetsuby’s debut release on Seb Wilblood’s all my thoughts label is a heartfelt and forward thinking mini LP.
The 6 track release effortlessly chimes into the deeper, inner emotions whilst providing a window into her
abundant breadth of skills through tantalising themes of sonic alchemy.

“I want to put comfort into the music and give some message to people who blame themselves” - Yetsuby

The resulting effect is a release that feels sincere and deeply personal but has a celestial magic about it that feels both kaleidoscopic and transcendent. It effectively creates a world for the listener to inhabit, whilst inviting them to connect with the album’s themes on a personal level.

DJ Support: DJ Support by Spiller, Alex from Tokyo, Coyote, Fango, Pete Gooding, Ally Tropical, Steve Cobby, Gold Suite, Luca Averna, Will Nicol, Danilo Braca, La Guardia De La Luz

Federico Costantini aka Luminodisco is back on Hell Yeah having long since assured his legacy with the label. Over the years, the Italian has dropped many cult and still widely played cuts here from across the disco-sphere ('Ragazzini,' 'Diavolo di un Disco,' 'Oh Mary' and more all still bang) and now he is back with a newly moved sound. A compulsion to produce something with "a more adult approach" is what defines this latest era, and a fine one it is too. Opener 'Solero' will surely become as revered as those classics above with its irresistible grooves guaranteed to bring ultimate dance floor satisfaction. The punchy drums are peppered with percussion and drum fills while gloriously sugary chords add the heat and wispy pads take things into cosmic realms. 'Jazzclub' is an unhinged rhythmic interlude that chops up vocal stabs, screwy synths and whirring machines into stomping brilliance then 'Bigfoot' slows things to a dubbed out crawl that has you gazing at the twinkling star-like synths. Things then get wonderfully wild on closer 'Soko', a jumble of percussion and tribal vocals over swaggering drum loops. Playful leads bring the sun as the dumpy bass plods on, pixel thin pads squirm all around and a celestial carnival in the sky plays out with irresistible charm.

DJ Support: Saorise, Moxie and Niks

Semi Delicious return for their 19th edition via label head Demi Riquisimo’s ‘Perilous Joy’ EP.

The 5 track release effortlessly meshes the classic influences synonymous with the Semi Delicious sound whist maintaining a forward thinking approach to the dance floor.

The A-side consists of ‘Sinewinder’ & ‘Direct Fix’. A pair of four to four tools that can be noted for their functionality as much as their unique sound. ‘Sinewinder’ being a more diva, big room affected track and ‘Direct Fix’ airing on the side of deepness with a head turning bass line. The flip kicks off with the title track ‘Perilous Joy’ which offers a nod to the sonics of dreamy, progressive Italian house of yesteryear. Up next is ‘Thyme After Time’ and with it more psychedelic house deepness. Demi slows the pace on the balearic chugger Autoglide’ to close out yet another impressive outing for one of 2024’s most talked about imprints.

Fellow Rome techno figurehead Adiel debuts on Spazio Disponibile with some heavy heavy low frequency cuts. Exploring bass weight in multiple tempo's, it's one of the most experimental releases on the label to date, still the main focus here is making dancefloors move. With Bristol icon Pinch contributing to the mix it's made sure these steppers are soundsystem proof and will wiggle both mind and body.

fabric Records to announce the highly anticipated release of *fabric presents Confidence Man*, set to drop on 23rd August 2024. The mix features Confidence Man’s innovative sound and includes two exclusive tracks from the band, alongside new music from renowned artists Joe Goddard, Joshua James, and Mona Yim.

Confidence Man, celebrated for their infectious energy and distinctive style, bring their unique flair to this mix, offering a tantalizing glimpse into the future of dance music. The exclusive tracks, “BREAK IT DOWN (ON THE BASSLINE)” and “Let Them Bells Ring,” showcase the band's signature blend of high energy and catchy grooves, promising to be instant dancefloor favorites.

Complementing Confidence Man’s contributions are cutting-edge tracks from Hot Chip’s Joe Goddard, whose production mastery continues to redefine electronic music. Joshua James, known for his deep house and techno expertise, delivers a track that captures his club-ready sound. Mona Yim adds her ethereal touch with a fresh composition that embodies her innovative approach to electronic music.

fabric presents Confidence Man* stands as a testament to fabric Records’ commitment to curating pioneering music that pushes the boundaries of the genre. This release not only highlights the versatile talent of Confidence Man but also features some of the most exciting contemporary artists in the electronic scene.

The album will be available for digital download and streaming across all major platforms on 23d August 2024.

A mastermind in showcasing various shades of house music in their inimitable manner, Danish-born, Amsterdam-based DJ/producer Samuel Andre Madsen, aka S.A.M., stands as a rare talent within the current house landscape. Whether crafting trippy, cosmic and psychedelic late-night excursions, delicate, hazy journeys, or groove-driven, heady cuts, their studio naus and innate musical talent has seen them release via a list of leading labels while heading up their own Delaphine, Dahlia and Oscillat imprints - not to mention their longstanding role as one-third of globally renowned trio Mandar. Returning to Up The Stuss following their stand-out collaborative ‘Get Together’ project with label boss Chris Stussy three years ago, 2024 welcomes a blissful late summer outing with the excellently crafted ‘Check It Out’ EP. From the deep, captivating and hypnotic sonics of the title track to the skippy Tiger Balm’, the bumping grooves of ‘Race To Lose’ and the classy tones of ‘Forever Rhodes’, prepare to be transported across the house realm with yet another faultless EP from one of the best around.

GU presents Unique #2, we have chosen twelve of the most exciting producers in electronic music to create exclusive tracks for this release. With music from Pig&Dan, Solee, Victor Ruiz, Hannes Bieger & Tara Brooks, Spencer Brown, Johannes Brecht, Musumeci, Helsloot & Rose Ringed, Brian Cid, Biesmans, Mariano Mellino and Gorgin. Available as a limited edition double, heavyweight, coloured vinyl format and a special digital album edition.

Tooflie is back with a new exploration of regional sound from all over theglobe by the anonymous crew of edits lovers. The five different, but equallyimpressive, cuts on the fourth installment are deep dives into the soniccarnival of Brazilian favelas through the skillful reinterpretations by hiddentalents. The A2 track 'CBACA' bolsters the signature baile funk raw energywith hard house rhythms and acidic melodic patterns. Stepping between thefunkier side of electro and polyrhythmic panache, MWR - 'man withrefrigerator' is tailored to take the dancefloor to a new level. The openingtrack starts with a minimalistic yet paunchy breakbeat groove on 'PDNCA' and continues the deepness through the heavy and raw low-endextravaganza on 'RTK'. Bringing the vinyl to a close, 'LAPA' goes full-throttleon haunting arpeggios and leaves things on a blissful note.

Italian producer Gemil returns with Planet X on Deep Down Space Records, marking the label's second release. 'Dance Phobia' immediately grabs your attention with its serious bass groove while the energy builds. A mid-tempo minimalistic house track enriched with vocal samples that add a house appeal, while the track’s tension mounts through the break before cruising smoothly to its end. "Reaction" dives even deeper, presenting a creative, addictive rhythm track with a tech appeal. Swirling chords and airy, euphoric elements blend seamlessly over a classy 90s house feel, leading into a moody alien melody in the second half—perfect for late-night dancefloors and growing more impressive with every listen.

On Side-2, the title track 'Planet X' is an exciting and creative blend of sounds, even earning an approval nod from HAL 9000 in the mix. Italy is known for their wonderful history of ambient house. This piece has that legendary sound and appeal to be a classic while providing many smiles on the dancefloor. Lastly, 'Soul Killers' delivers an addictive house mantra that everyone can get behind. It's perhaps the most underrated track on the EP but is sure to find its way into the sets of classy house music DJs. Don't be a Soul Killer!

Planet X by Gemil is a splendid EP, capturing the essence of house music with a touch of techno sophistication, ideal for both connoisseurs and late-night revelers alike. Welcome to Planet X!

Repress.

The follow up of the acclaimed first volume of this compilation, a real discovery for many DJs and music lovers worldwide who didn't know that much about Zouk or DIY electronic music of the french west indies.
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The selectors Julien Achard and Nicolas Skliris continue the excavation of French Antillas vinyl from the 80's and the 90's and for this second volume, they found some really exciting new references which should be soon « classics » on the dancefloors.

Make The Ting is a project born out of my writing on creativity that lives online as post it style notes known as the ‘Yellow Squares’ found across Instagram and Twitter. The first square was posted on July 31st 2021, as covid-19 restrictions were lifting in the UK and I was thinking about what the music scenes and wider creative communities are after 18 months of lockdown. The idea’s developed into lectures presenting them in real life, but the platform felt right to explore my own creativity more broadly to challenge my own ideas in real time. My history as a DJ, Label Owner and Promoter in the Grime scene wasn’t at the forefront of these ideas, but I wanted to reconnect back to the ecosystem that inspired and gave me a creative career in the first place. Blay Vision’s ‘Cammy Riddim’ in the summer of 2022 inspired an idea to translate the ideas in the squares into song form. I approached Grime MC Jammz about the idea, and the first song ‘Yellow Square’ was done with the core principles that I had written about so far. 6 months passed, and while on a Muay Thai retreat in Thailand in February 2023 I thought about expanding the musical side of the Yellow Squares further. I text Jammz about turning this idea into an album, that we make as quickly as possible using my writing as a guide, and his voice and creativity to turn them into songs. We gave ourselves two weeks, set up a shared notes in iPhone did two zoom meetings, one phone call, exchanged messages on iMessage and he wrote 7 songs in a week, then recorded them all in one day at Ten 87 Studios in Tottenham, London. Jammz wrote all of the songs to one of his own beats, then we selected the final instrumentals we liked that we thought fit the ideas from both our camps the day before recording. The speed forced our hands creatively and it would have been a completely different project if we worked on it for months. Time is the creative director. Albums don’t have to be blockbuster projects with big budgets and huge campaigns behind them. Albums are just collections of ideas. Removing the pressure of trying to make a perfect one meant it got done and released with the least stress possible. Even the business of the album took 5 mins to handle. An equal revenue split on each song between me, Jammz, and the producer. Everyone gets paid quarterly into their own account automatically by our distributor. On announcement of the album in March 2023, we released the acapellas, for people to do their own versions, before most of the original songs had been heard by anyone. We encouraged people to Remix The Ting, and I did custom artwork for everyone that sent me a complete remix before the album came out on the 30th June 2023. The front covers are drawn individually by me. I wanted to make the record an extension of what I do with the yellow squares themselves and capture the energy of where my head is at in 2023. If it’s blank, it’s space for you to draw your own yellow square. Maybe what you think about the album, what it’s inspired for you, or just a snapshot of where your creative brain is at on the day you are picking up this record. This could be the first of many albums, this could be a one off. Nobody knows what is going to happen next. It all may make sense in the end – Elijah

Rosebay Music presents Darker Flowers - a V/A project showcasing 4 hotly-tipped new school producers - all representing a haunting soul sound with elegance and class. Romanian wiz kid Azotix has been making moves recently with his ultra-clean future bangers. But here he shows another side of his sound with the beautiful 'Hurt'. Styke & label boss Submorphics linked up in The Hague for a unique collab in 'Lonely Dub' - channeling dub techno + moody film noir D&B. LO! represents Chicago with the timeless banger 'Transition' - bringing an early 2000s sound into 2024. And imo-Lu finishes the EP with the gorgeous- yet-deadly bassbin rattler 'Inhibition'. Epic soundsystem music straight out of Glasgow.

Even as a relatively new face on the scene, Boaksi, isn’t a stranger to longer format releases. The budding Zurich based producer made a splash with his first two releases “Under The Pavilion'' and "I Thought It Was Yesterday” which featured remixes from Soela, Louf and Al Zanders. Now he debuts on Seb Wildblood's all my thoughts label with a 4 track emotionally visceral EP titled Keep Movin’.

The title track, "Keep Movin'," takes a dynamic approach, layering creamy pads and impactful percussion with subtle dub techno influences that create a refreshingly deep groove, propelling a carefully positioned vocal sample into the forefront.

“Didn't I", leads with a beautiful, progressive melody that evokes a sense of yearning, and the ever-relatable Romanticism of the club. Delicately triggered chords dance off the wonderfully unpredictable drum patterns, while Boaksi's minimalist vocals add a touch of human emotion.

"Running Out Of Time" takes a more introspective turn, featuring distant, detuned textures that set the stage for a bed of soft, distorted pads. Stripped-back percussion allows the climbing arpeggios to take centre stage, building to a cleansing break that allows the atmosphereto expand before settling back into a warm, percussive groove.

The EP closes with "Wanna Be With You," another emotionally intelligent piece that showcases Boaksi's
prowess for crafting captivating soundscapes. Elemental drums and breathtaking, climatic chords provide the foundation for a beautifully free-forming synth arpeggio that flutters playfully around an unforgettable vocal hook.

Material Object is the main production alias of veteran Australian producer Andre Ruello. His focus is on the most psychedelic forms of techno and ambient. As well as his own productions he has collaborated extensively with Uwe Schmidt (Atom™) and the late Pete Namlook, including releasing on Namlook's Fax label. Ruello has performed and DJed live all over the world, including a number of appearances at Japan's Labyrinth festival. The summer of 2024 sees him give his debut live performance in the UK.


Mastered by Uwe Schmidt, Colour is a set of six single take studio improvisations that explore the boundaries of what can be achieved with a single instrument in the hands of a skilled musician.

Old Technology Records is Surgeon and Dan Bean's record label, focussing of psychedelia in all its varied forms.

Although all three tracks offer the listener valuable insight into the level of music production ingenuity that was going on in Japan at the time, it's "Electric City" that really stands out as an unmistakably unique dancefloor track, where the then teenage female vocalists from Shohjo-Tai are left out and a galloping 120BPM beat sets a blank canvas for a number of unexpected elements to present: completely unorthodox accents in a wide range of unidentifiable sounds, a very enthusiastic electric guitar solo, the Ennio Morricone-esque Spaghetti Western vocal moments, all of which get contrasted with a blissful chorus that reminds one that this is somehow still a collaboration with a Japanese female idol band from the 80s. A hard track to forget even in the less sober dancefloors, it is no surprise that it would be a fundamental secret weapon in the repertoire of diggers such as Dea Barandana. Can't go wrong, buy on sight. Remastered with new artwork.

Benny Howell (aka DJ Subaru) is a UK based producer, DJ and overall promoter of good times who's undoubtedly propelling a new generation of music appreciation with an honourable respect for the earlier beginnings of club culture. Benny Howell might also be the pioneer of a new post-Brexit Eurodance genre, with "Surrender", a catchy Pop oriented production with strong influences from Italodisco and HiNRG, written and produced entirely from scratch with best friend Bella Quirin who co-wrote the lyrics after a break up with her ex. Innocent and charming lyrics over 120's BPM drum machine and a simple melody that you'll be humming in the back of your mind for days to come. Equipped with a Yamaha TX81Z, a few guitar pedals and a makeshift bedroom studio, "Surrender" is the product of a dear friendship between the two music lovers, as per Benny's recount: "Bella came and sung on the track in my bedroom during one of the gaps between Covid lockdowns after I asked her at the pub if she knew any singers and said me of course, and we went from just friends to best friends."
The remix on the B-side by Castro takes a darker turn into what almost sounds like a Techno version with heavy dubbed out effects taking the "Surrender" theme through an unhinged Ketamine flanger vortex. Full cover artwork and mastered at Manmade mastering in Berlin.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

The record ‘Rīgas Elektromašīnbūves Rūpnīca (RER)’ has many distinctive characteristics. I would like to draw listeners’ attention to the fact that the recording was made with 16 microphones in an abandoned factory in Sarkandaugava (Rīga, Latvia). Over two days, KODEK recorded how the music sounds specifically in this vast space – how the window panes vibrate, how the metal lockers rattle, and how the sound waves propagate uniquely. This created a special and unparalleled musical sound. In this record, KODEK not only plays musical instruments but also the space itself, resulting in an added value or a new chapter in the history of world music – The Sound of Sarkandaugava. – Kaspars Rolšteins Artist bio: Musician Raivo Vainovskis, widely known as KODEK represents a narrow nonacademic electronic music genre while having proven his excellence and gained international recognition performing in countless electronic and experimental music festivals like CTM Festival in Berlin, Amsterdam Dance Event in Amsterdam, Cynetart Festival in Dresden, MUTEK festival in Montreal among others. KODEK is a core figure behind the globally acclaimed Latvian electronic music instrument manufacturer Erica Synths and often uses their synthesizers in his work. Since 2011 he co-organizes experimental music mini-festival Brīnumu Nakts in his native city of Madona which is one of the rare occurrences of such events outside the Latvian capital Riga. Since 2005 both in his releases and live performances he challenges his audiences with his unique stage presence and sonic aesthetic that is rooted in the spirit of truly independent music and art. KODEK has been nominated (and has won) The Annual Latvian Music Recording Award in the category ‘’The best electronic music album’’ for his ‘’Flavours From The Future’’ LP in 2012.

From Chillán, Chile, emerges Marcelo, a genuine talent,
He started in a band, singing and playing bass, now embracing electronic music's element.
His first EP "Got a Pineapple," a very organic and groovy, complete jazzy concept with intricate details, setting the mood smoothly.

"Rolling Out", brings a genuine bass killer, Perfect for the dance floor, a track that delivers thrill and thrillers.

Completing the debut is the legendary Losoul, a Playhouse icon, No introduction needed; his catalog speaks for quality, his talent not gone, minimal touch you can enjoy. Minimal master piece from Gathaspar for second remix very mental like he do always.

Together, they form an excellent combo, continuing our mission,
To print records of quality music, transcending shallow ambition.

For cover the daughters of Carmen Piemonte, Carmen Valbuena Piemponte.

For its 16th instalment, Swiss label CAF? invites DJ duo Charlotte aux Fretz to curate a compilation EP, building bridges between the French and Swiss contemporary club scenes. Ignited while organising and attending free parties, “Rave Alert” covers a whole range of atmospheres one could encounter during these summer nights. From phone-lit forest journeys to sweaty peak-time dance floor moments, all the way to hypnotic sunrises where the first rays of light reshape your surroundings.

Dub-tech master Beatrice M. offers a great opening to the compilation, subtly combining their signature sonic ingredients with your favourite DJ meme. Amor Satyr drastically rises the cruising speed to 175bpm with his d&b infused track, while Lia Catreux follows the pace with a bouncy track that will keep your feet off the floor. The flip side starts with an introspective journey with Spirit Vortex Club’s first recorded appearance, while Israfil keeps the energy high (and mercury retrograde away) with an uncompromising rave track. Yolek and Freeky (both previous CAF? contributors) wrap up the release with a slow but heavy closing burner. Last round of applause and you can finally go to bed (you think).

Bristol's cultured Innate label is back with a first outing of the year and it returns to their various artists format with a mix of talents all making their mark. UK veteran Tom Churchill opens up with 'Unknown Unknowns (Edit)', which brings plenty of fuzzy and lo-fi aesthetic to jacked up drums and spaced-out pads. Rai Scott then shows her class with 'Suasion' that sinks down deep into immersive drums and is subtly lit up with simmering strings. Innate co-founders Owain K and Gilbert then hook-up under their brand new alias Curved Space and showcase their love of electro with 'Reverie,' a dreamy cut that glows with nice celestial melodies and will have dance floors in a zoned-out state. Last of all it's Lisbon mainstay Jorge Caiado who debuts with the chord-laced 'Floating Without Lifting,' a sophisticated and serene jazz-techno cut that takes you to the stars.


DJ Feedback

Richard Sen:
"Lliking the Tom Churchill and Curved Space tracks. Will try and fit them into the show and in the club."

Laurent Garnier:
"A lovely EP indeed!"

Jayson Wynters:
"This is a great release. Nice varied tracks for different moods. Will certainly be playing this."

Anna Wall:
"Lovely VA! Thanks so much for sharing :) Faves are Jorges track and Rai Scott. Really beautiful music!"

Ewan Jansen:
"Great listen mate - a good gang assembled too."

DJ Guy:
"The EP is gonna be incredible..."

Orlando Voorn:
"I like em all!"

Moy:
"This is another really wikid V/A!"

Hizou:
"Thanks a lot, so good music here!"

Appleblim:
"I love the Tom Churchill - very detroity and deep, beautiful!"

Baldo:
"Thanks for this release, I love your track with Gilbert and also Jorge's! pure class!"

Alex Attias:
"Sounding dope! I’m feeling this great ep, thank you so much."

Chris Duckenfield:
"Many thanks for sharing, it’s a strong EP for sure. B2 probably my immediate fave."

Adam Shelton:
"Wicked release! Love all tracks, thanks so much."

Alien Communications:
"Love the EP, really like all the tracks but your own, Reverie, is definitely the strongest for me."

Dan Curtin:
"Sounding so lush...really really great. "

Vine Watson:
"Sounding great!!!"

Das mit Spannung erwartete WE STILL DON'T TRUST YOU ist das nächste Kapitel einer explosiven Kampagne. Sie feiert die historische Partnerschaft zweier kulturverändernder Legenden, die auf dem Höhepunkt ihrer Kräfte agieren, und zementiert ihr Vermächtnis als Hip-Hop-Pioniere. Wie bei seinem Vorgänger ist das Who's Who ihrer Kollaborateure vertreten und hebt die kultigste Rapper-Produzenten-Partnerschaft in eine ganz neue Stratosphäre.

Nonna Fab is a core part of Sheffield’s progressive music scene, founding Apricot Ballroom, Footprints Jazz Club, Jazz On The Park Festival, and his band Fuji Speedway. He’s also part of the consortium behind Grub Records, a new record shop and wine bar opening this summer. As well as regularly playing as part of his duo with Apricot Ballroom, Nonna Fab’s back catalogue of releases explores house, boogie, jazz and broken beat. This release shows an organic curation of instruments, touching on live elements, jazz improvisation and dance-floor orientated rhythms. We Still Out Here began a few years ago as a nod to the iconic New York City sound of Dinosaur L and Francois K, and to serve as a message that there are still producers out here working on and inspired by that sound. This release also features remixes by Admin and Comb. Bristol-based collector and beatsmith Admin is known for his sampling finesse, self-releasing some killer 7s, edits on his Community Disc-O's label, and music on others including Boogie Café Records, Take Away, Better Listen, and Future Boogie. The second remix comes from Norwich-based artist and I Travel to You label manager Comb, one half of the duo Dangerous Goods and the producer behind the popular Comb Edits series.

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

There is propably no single event that has as potent of an
effect on the german Techno- scene as the fall of the Berlin
Wall. A city divided suddenly, in one single night, became
uni¦ed, opening up both sides for the new experiences and
ways to view life the other might have. Berlin’s eastside with
it’s empty, unused warehouses proved to be a fertile breeding
ground for free spirits and those carrying a newfound ¦re in
their eyes. This was the zero hour. The Consolidation. And it
is this mindset, spirit and ¦re of Consolidation that Shaleen
conjures on her debut EP of the same name. The title track
opens up by sampling John F. Kennedy’s legendary “Berlin”
speech from 1964, before absolutely caving in the concrete
with a beyond-heavy kickdrum and a very stripped down but
effective 909-percussion section. Spursed in along the track’s
runtime are droning sirens and JFK continuing to beckon you
to lose yourself in the metropolitan bowels. This is the
anthem of a past revolution. On Deconstruction, Shaleen
goes down a slightly more basement oriented route. The
Percussion shares the title track’s stripped down
effectiveness, but the Groove is more rolling, the Vocal
samples are more distorted and there are sharp synths
cutting through the beats like shards of broken glass. Of
course, a revolution wouldn’t be complete without a mob so
both Cadency aka Hector Oaks and New Frames have put
their spin on the EP’s title track. Mr. Cadeny is up ¦rst and,
being no stranger to revolutionary anthems, has given
Consolidation an almost contemplative mood in his Remix,by adding a very subtle melody. This doesn’t mean it hits any
less hard, mind you, there is an incredibly strong drive to the
track, paired with an almost constantly looping vocal and the
sirens going into overdrive, this would be the track to drive
crowds into a frenzy. Meanwhile New Frames’ track is the
kind of thing you wouldn’t want to encounter alone in a dark
alleyway. The sub-basses are heavy enough to terraform
Mars, the Jungle-esque Synthlines roar and snarl at the
listener and every drop feels like a right hook to the chin. The
original’s vocal is cut in a way that it only adds to the
stomping rhythm, putting you in a mood to throw bricks. So
while this record showcases an aggressive sound and a
mood for revolution, it is important to remember it’s title.
Consolidation. It echoes a message of uni¦cation. Of
standing together. Because together we are, have been and
will always be stronger than by ourselves.

2024 Repress

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

Darren Roach’s debut album lands on Limo! With its sights set squarely on the dancefloor, ‘Low Ranger’ may seem to have come out of nowhere, but to those who have been paying attention, his music has never stopped making an impact. Roach boasts a catalog of releases that begins in the ‘90s, and a few of these long-lost pearls resurface here, freshly mastered and ready to go.

The bulk of the album, however, consists of freshly crafted nuggets that will surely stand the test of time just the same. The album is a testament that truly good music doesn’t degrade over time, and the decades of quality behind ‘Low Ranger’ reveal a master of his craft.

DJ Support: Marco Faraone, Victor Ruiz, Marco Carola, Cristian Varela, Joseph Capriati, Mauro Picotto, Ilario Alicante, Wehbba, Konrad, Anna Tur, Joris Voorn, Anna Reusch, ANELA

Indira Paganotto and her ARTCORE imprint stand out from the crowd with an exponential sense of uniqueness, front-running pioneers of the new Psy-influenced techno boom. Indira’s upcoming release ‘Gypsy Queen’ is another perfect example of how she has garnered so much love and support for her unique vibe and ethos to date.

Title track ‘Gipsy Queen’ begins in eccentric fashion. A gentle strumming of flamenco guitar lines, a distorted chorus of castanets and an enchanting vocal open the track to remain a key feature throughout waves of razor-sharp synths and hurtling drums sequences. The dips in pace are beautifully accompanied by the stirring vocals but before long the flamenco influences are overrun by the trance-tinged techno Indira is famous for. The out of body like energy summoned by the strings and haunting effects of ‘Vendetta’ offer a different audio experience to that offered by the EP’s title track. With a visceral intensity that becomes more acute following each drop there are several curious effects and tones at play to make for a somewhat dramatic techno heavy melody.

Opening the flip side is ‘Heaven Is For Warriors’ , this comes in hot with thumping drum grooves and crisp percussive drive, supplemented by ominously celestial undertones and rave-inspired musicality throughout-a sinister tirade of punchy electronic grit, marching to a racy tempo built for peak-time sets. The release closes on ‘Requiem’, further playing on the darkened divine theme throughout the EP. Beyond its atmospheric intro, you’re greeted with a marauding flurry of watertight Techno goodness layered with synths, sirens, pads and much more.

There’s no denying Indira’s oneness when considering groundbreaking techno talents; This EP serves as a solid reminder of her commitment to trailblazing a path into the genre’s new and exciting age.

Bread & Souls is a new project dreamt up by Italian entrepreneur and music lover Franco Fusari. Franco invited Mark de Clive-Lowe on board to direct and produce an album of collaborations with some of our favorite artists including the likes of Bembé Segué, Vanessa Freeman, Paul Randolph, Rich Medina, Tommaso Cappellato and more...

Opening with the broken beat, soul-drenched I See You featuring Detroit’s Paul Randolph on vocals along with Taku Hirano on percussion Chapter 3 is here! Vanessa Freeman and Bembe Segue absolutely radiate on the head-nod of Little Did I Know, complete with Marcus Machado lacing classic D’Angelo-meets-Prince guitars. You heard the Domu remix on Chapter 1, and finally here’s the original! The EP wraps up with two remixes courtesy of Alex Attias and LTJ Xperience. Alex reworks the Bembe Segue featuring Never Gonna Leave into a deep tech house dancefloor workout while Italy's LTJ Xperience’s remix brings the mid tempo 4/4 to Rich Medina and Bembe Segue on Working On It (original version still to come!).

ETC Records proudly presents the official follow-up to RADIUS’ highly acclaimed limited 7”, Infinite Roots Vol.1. Chicago-born worldwide documentarian & respected producer/performer, RADIUS unveils Infinite Roots Vol.2, produced and recorded from 2015 to 2023. This volume showcases his diverse range of styles: Chicago Jazz roots, bboy/hip hop & house music lineage, Detroit techno connections, dub/Rastafari dissporic expansions, and cinematic soundscapes.

Infinite Roots Vol.2 features heavy hitters from RADIUS’ previous digital only releases, live performances, dance competitions, and unreleased gems. Created within Brooklyn where he was based early pandemic time, as well as throughout Mexico, Detroit, Barcelona, Berlin, Rotterdam, and of course Chicago. These diasporic roots run deep and are a reflection of everything: as above so below, as within so without, infinite. The sounds are meant to be Banged loud and proud!

One of the key 45s in the output of Prince Jazzbo's Ujama label during the digital era of the late 80s - originally reissued via NYC's Deadly Dragon some 15 or so years back - gets a much needed new cut & press via Death Is Not The End's 333 series.

The late Earlando Neil aka Early B first started performing on soundsystems in the late 1970s, often appearing with his young apprentice Wild Apache, later known as Super Cat. It was alongside Cat that he is credited as a key driver behind the popularisation of the King Majesty and Killamanjaro stables in the early 1980s, following which he had a string of hit records for the likes of Harry J's Sunset imprint, Ossie Thomas' Black Solidarity and Jah Thomas' Midnight Rock label amongst many others.

Following a run of stellar LPs in the mid 1980s Early B's output began to wane as the sound of digital production began to take precedence, but not without firing off one the most killer shots ever recorded on a computerized rhythm for Jazzbo's Ujama in 1987. Reportedly the first time around for the hallowed Replay version, Imitator's subject matter takes aim at the new kids on the dancehall block ripping off the veterans, while he simultaneously pays hard-earned dues to the dancehall's foundation deejays such as Jazzbo himself, U-Roy, Big Youth, Dennis Alcapone, King Stitch, Trinity & Dillinger.

Repress!

We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.

Cuban virtuoso pianist Roberto Fonseca, former member of the Buena Vista Social Club, announces his new album "La Gran Diversión". A voyage into Cuba's roaring twenties, an invitation to party and dance, in a subtle blend of traditions drawn from his training with the greats, his incomparable talent, and wild modernity. "Together we'll laugh, cry and enjoy the mystery and magic of the rhythms and melodies I bring from my roots."

A vibrant kaleidoscope of sound, colour and emotion, British multi-hyphenate James Alexander Bright's new album 'Cool Cool' is set for release on 26th July via Athens Of The North. A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers span 10 songs that soundtrack fertile daydreams, esoteric dancefloors, languorous reflection, and wild excursions in nature and beyond. James' voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead on this new record. Whether tenderly caressing on the title track's beautiful soul minimalism or deployed passionately on boogie machine 'Straight Line'; it's an immediately recognisable signature. Impressive multi-instrumentalism sees him perform on guitar, bass, keys, programming, percussion, production and myriad quirky effects; across song subjects that cover searching for truth, imagining the distant future, teen nostalgia, relaxation exploration

Maria Rita is a musical pioneer that was ahead of her time. On first hearing her song, 'Cântico Brasileiro No.3 (Kamaiurá)’, we thought it sounded like a contemporary remix that an artist such as Carl Craig could have produced. In fact, it came out in 1988 and was taken from Maria's 'Brasileira' album, released on the Brazilian, independent Acorde imprint. The song would go on to gain cult status with its inclusion on John Gomez's superb 'Outro Tempo' compilation, released on the Music From Memory label in 2017.

The album fuses new-age electronics with indigenous vocals and Amazonian rhythms. It is beautiful and unique and takes you on a journey through different moods, textures and ethereal planes. Through the sounds Maria created, you join her on a timeless voyage gazing into the future whilst embracing her powerful roots.

Maria Rita Stumpf was born in the southern inland of Brazil, in the mountains of Aparados da Serra. She started writing music at the age of 14, and through participation in festivals and song contests, she developed her material and sound. A move to Rio de Janeiro in 1985 furthered her career and led to the release of the 'Brasileira' album. The record features the legendary pianist Luiz Eça, alongside the group Uaktí and Ricardo Bordini.

1993 saw the release of 'Mapa das Nuvens (Map of the Clouds)' on CD via the Leblon label, but soon after, Maria would have a hiatus from the music industry, dedicating herself to her cultural and arts agency, Acorde. She left the stage and recordings behind, but quality always shines through and years after its original release, international diggers, producers and DJs rediscovered the greatness of Maria's music. This would lead to a re-issue of the ‘Brasileira’ LP, and later Optimo Music/Selva Discos released a 12” EP of ‘Brasileira’ remixes by Selvagem, Carrot Green and Joakim. Maria also spoke at the Red Bull Music Academy Festival in São Paulo, performed at both the Kino Beat Festival and the Brazilian leg of the Dutch festival, Dekmantel. Her two latest albums received critical acclaim, ’Inkiri Om’ in 2020 and ‘Ver Tente’ in 2022. At last, Maria has got the credit and kudos she deserves, inspiring new and future generations of producers and music lovers.

Though previously re-issued, it was after a conversation with Maria that we learned that she wanted to keep this sublime record in press, and this was something that we couldn’t wait to put into action. So here it is, the Mr Bongo pressing of ‘Brasileira’, housed in a gatefold cover.

Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.

Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.

While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!


Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop!

repress !

Re issue of 1996 classic house cut from Mood II Swing featuring John Ciafone.Containing 4 tracks including the absolutely essential B side 'Slippery Track'.

Taken from the original DATs this has been fully re mastered for 2014 and will sound better than anything on discogs. No digital release planned until summer.

Re issued in conjunction with Groove On Productions Inc / George Morel.

Recorded almost entirely in a single day at the legendary Total Refreshment Centre in London, JOY MACHINE brings together some of the most exciting musicians in London’s new jazz explosion. With features from Alabaster DePlume and trumpeter Jonathon Enser (Nubiyan Twist), vocals from Dizraeli (Worldwide Music Awards Best Album nominee), drums from Ben Brown (Alfa Mist, Mulatu Astatke), bass from uk jazz scene favourite Daisy George, synths from Joseph Costi (Yusef Cat Stevens, Bahla) and saxophone from free jazzer Ronan Perrett.



In the tradition of Miles Davis’s Bitches Brew, the band came to the studio in October 23 with only one pre-written track (the uplifting summer anthem Greek Summer) and once that was recorded, spent the rest of the day improvising wild, explosive music laced with Dizraeli’s rap and spoken word lyricism. The result is JOY MACHINE, a record bursting with urgency, intensity and life, and one that cements Dizraeli’s position as an innovative wordsmith, bringing both personal depth (as in Abigail, a homage to the sister who died before he was born) and fierce political commentary (as in Dear Cousin, a goosebumps-inducing narrative that transports the listener aboard the boat Adriana carrying refugees across the Mediterranean, which sank in June 2023 drowning 500 people, and then confronts a very English bigot in the second verse).

Step into the shadowy depths of minimal techno with the highly anticipated third release from altēr:altēr. Brought to you by Stekke, the visionary Brazilian duo and owners of Sketches, this installment also features the French maestro Lowris (Aethernum / Minibar) and the enigmatic Thome.

altēr:altēr 003 is a masterclass in dark minimalism, weaving intricate soundscapes that are both haunting and hypnotic. Each track is a testament to the art of simplicity, maintaining a steady groove while immersing the listener in a rich, textured sonic environment.

"Following on from May's "ECHOES Part 1 & 2" this is the second single of three to be released as an introduction to the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

This time it's one for the reggae fans and dubheads with contributions from Diggory Kenrick who has been busy over the last few years adding the distinctive sound of his flute to many new reggae productions. He is also an associate of the U.K. reggae label Pressure Sounds that specialises in reviving classic sounds from the roots and dancehall eras of the genre. Also joining the production is Takafumi Noda aka Mystica Tribe, a Japanese producer and musician who has specialised in a new form of dub techno and is known for adding the signature sound of his melodica to productions of dub friends from around the world.

The subject of travel, especially along modern, fast routes has long been subject to fascinate musicians, from the days of Kraftwerk's "Autobahn" and now the whole genre of dub techno seems to be one built for listening on long journeys. The Autostrada Del Brennero / Brennerautobahn is one of the most important motorways in Italy, as it connects the Po Valley with Austria through the Brenner Pass and features many modern bridges and overpasses that are ready built illustrations for the covers of dub techno albums! On this release this major European truck route is celebrated musically by Ulrich Troyer with inputs from Diggory and Taka to create two modern dub classics."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)


Credits:

Diggory Kenrick: flute

Taka Noda: melodica

Didi Kern: drums

Ulrich Troyer: analog synthesizers, analog drum-machines, sampler, dub effects

A written by Diggory Kenrick & Ulrich Troyer

B written by Taka Noda & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except flute recorded by Diggory Kenrick at Holloway Studio, London / melodica recorded by Taka Noda at Mystica Sound Studio, Tokio

Mixed & arranged by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer


Special thanks to Steve Barker, Osman Murat Ertel, Diggory Kenrick, Eva Kelety and Takafumi Noda

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Having spent the last decade evolving into one of dance music’s most sublimely effective producers, CWPT is delighted to welcome Theo Kottis at the peak of his powers, delivering a further four tracks that demonstrate a playful mastery of widescreen sounds for wide-eyed dancefloors.

Capturing the light still shining from his beloved ‘Lighthouse’, finally released earlier in 2024 via Dekmantel and escalated into notoriety thanks to support from trusted selectors such as Ben UFO, Francesco Del Garda and our own Palms Trax, title track ‘Rain’ retains a similar, blindingly authentic nineties reverence, finding ecstasy in a wash of cascading synths, powerful plunges of sub-bass and layer upon layer of elasticated everything.

The Scottish producer’s positive education in the foundations of club music with real personality makes itself known without indulgence; a belief in the subtle tweaks and imagination of classic tech-house, alongside a welcome flirtation with the over-the-top elements that create something potentially anthemic. In this regard, ‘Benirras’ proves to be pure pleasure for dancers who love to be toyed with, its stripped back opening giving way to slowly-escalating, wobbly-jawed hysteria.

On the flip, ‘Grazie’ proves as cordial as its title, a warm and refined slice of sleek house minimalism, a roller with Alfa Romeo sensibilities. Things take a more aquatic turn on ‘Lowkey’, a logically headsy conclusion that sees Kottis sensually bounce the word ‘electro’ around in that very style, its slower tempo and wider space allowing the impressive intricacies of his productions to float up for fresh air.

Jose James has showcased his rich and graceful baritone voice through a series of unpredictable projects that have blurred the lines between traditional and contemporary jazz, soul, funk, rock, house, and other genres. Now, with a new collaboration on the "Saturday Night" remixes with Grammy winner Louie Vega, Jose proves his versatility and variation in his unique vocal ability, able to adapt to all types of grooves with ease. "Saturday Night" is a feel-good summer song penned by Jose James himself and seasoned songwriters/Grammy winners Talia Billig and Kaveh Rastegar, who have worked with Moby, Aloe Blacc, and Bruno Mars, to name a few. Taking it to the clubs, as we say in nightlife, Jose takes us on the dancefloor once again all around the world! Enjoy the Louie Vega remixes with long versions of each interpretation and the hot guitar dub on Vega Records, with license courtesy of Rainbow Blonde Records! Available at all digital outlets and a vinyl double pack coming to you early summer 2024!

First aired by Ratpack on Centreforce , this first collaboration by Col Trixta &Dubble Dunk has already become a classic in-the-making
Much like the hugely popular 'Dubble Dunk Vol 1', both tracks bridge genreshouse, breaks and old skool - with slammin' old skool pianos, stabs and familiarvocals.
Colin and Duncan have been plying their trade on the UK rave DJ circuit since theearly 90's and both held residencies at Slammin' Vinyl, United Dance, Freedom@Bagley's and now Strawberry Sundae together.

French Chicago Techno imprint Ghettomania celebrates 15 years with old collegues like Manu Kenton, Traxman and Label head Manatane.

Introducing the brand new label from renowned party Full Scale ! We are thrilled to announce our debut release, 50 Kills EP from the immensely talented French producer Olivier Romero. Garnering recent acclaim and support from industry giants like Dyed Soundorom and Shonky, Olivier Romero is making waves with his innovative sound.

Our first release features the electrifying track "The Fantastic," which has already become a favorite in many of Raresh's sets, eliciting amazing crowd responses and setting dance floors ablaze. This track showcases Olivier's unique ability to blend compelling rhythms with infectious energy, making it an instant classic.

We are excited to include a special collaboration on this EP. We invited the esteemed Tripmastaz to remix Olivier's track "50 Kills." Known for his distinctive style and production prowess, Tripmastaz brings a fresh and exciting dimension to the release, ensuring that this EP is a must-have for any music lover.

From Pasha With Love (love in times of war)

Pasha is a soldier on the front line, fighting those who till the day before were friends from the town next door, probably fighting his
own brothers-in-law, Natasha’s brothers, his great love, mother of his children in a senseless war if only wars had a meaning …

In the evening when the madness slows down.. Pasha takes his cell phone and talks about the horrors and the desperation but also the
infinite gratitude he feels for having had her as a gift in his life. His texts always end with "From Pasha with Love"

The atrocities, pain and the inhumanity he experiences every day, every hour, are alleviated in the pauses between one explosion and
another by his most intimate memories... Natasha's laughter as they chased each other in the sunflower fields in their first summer
together, his Yes! to her at the altar, her kisses first thing every morning.

While he runs surrounded by the screaming of the wounded and the whistling of bullets in the woods, in every moment that could be
the last, he searches for that tree where at their first date they carved that little heart with the words ..
Pasha & Nasha-Timele.

2024 Repress

After appearing on the label's recent 'Federation of Rytm II' release alongside some of the industry's most iconic artists, Steve Redhead is back on Mutual Rytm, taking over the label from SHDW & Obscure Shape with a 6-track solo EP delivering driving, furious and old-school influenced techno.

The eleventh installment of Mutual Rytm opens with the rolling grooves and choppy vocals of 'Blokhut', which flows smoothly into the highly effective drums and strings of 'Sea Choy', while 'Bruusk' closes the first side of the vinyl with a hypnotic, well-crafted 90s influenced techno anthem. On the flip side, the title track 'Eastbook Isle' is all about its rolling bassline, retro/electro influences and a mesmerizing melody, while on the B2 'Planet Phatt' closes the record perfectly with a classic old-school sounding cut, made to be the last track of the set or those early morning moments. Last but not least is the digital bonus track 'Monster Madness' and as the name implies it is the hardest of the bunch, with aggressive late night grooves wrapped in deep, repetitive and
evocative chords.

Undoubtedly one of his best works to date, the Belgian producer keeps up the good work with his second appearance on the label in the form of his Eastbook Isle EP.

2024 Repress

Lars Huismann is back on Mutual Rytm with the much-anticipated third volume of his 'Sounds From The Past' trilogy.

A core part of SHDW & Obscure Shape's ever more crucial Mutual Rytm imprint thanks to his timeless techno offerings as part of his ongoing 'Sounds From The Past' series, Berlin-based DJ/producer Lars Huismann's stock continues to rise release by release as a talent merging influences from the past with forward-thinking nuances of the future. Drawing on the early 2000 techno sound, he embellishes it with his own perspective, as evidenced by his earlier releases on the label. This latest six-track offering is another accomplished outing from this unique talent as he concludes the three-part series on the label in style.

The title track 'Sound From The Past III' opens up with a finely filtered chord groove that provides a smooth and hypnotising foundation. A subtle bassline, buoyant kick drums, and embedded vocal patterns harmonise with the synths, unveiling a smooth linear groove that soon sweeps you up.

'Fusion' brings more intensity with its barreling drum kicks, a dirty driving bassline, and melodies flashing by like headlights on an intergalactic motorway, with the overhanging pent-up energy inescapable. Next, 'Shimmer' rides on vast, heavy layered drums that are warm, and comforting as the track travels through a journey of diverse dub techno elements.

Like in 'Loucura', taken from 'Sounds From The Past II', Lars again showcases his strong influences from Brazilian and Latin music. On 'Estar Farto', the drums and bass are tightly interwoven, racing beneath bright and funky synth lines that bring ever-evolving shades of colour. A jazz drummer himself, the music transports into the groove via intelligent brass chord progressions and fine-tuned vocal and percussion elements.

It's straight dance floor business on the closing vinyl production 'Bittersweet', with its muted synth smears darting over more macho drum programming, while digital bonus 'Dusty Lick' is an unrelenting, jazzy, percussion-driven banger that hits hard and heavy in all the right places.

2024 Repress

Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.

Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.

Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.

Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.

2024 Repress

Berlin techno talent Regent is next up on Mutual Rytm as he returns with a compelling new five-track 12" titled 'Coral Knife', plus a digital bonus cut.

Regent emerged only in 2020, but has fired out quality tunes on Planet Rhythm Records, Arts Collective and Warg Records since then. His already extensive catalogue of standout releases combines tough and rapid grooves with cerebral qualities and a real depth of writing and sound design, resulting in timeless yet avant-garde material optimised for the dance floor. For that reason, he is one of the new forces emerging from the German capital and why his next EP, 'Coral Knife', sees him find a perfect home on SHDW's Mutual Rytm imprint as he returns with his first 12" on the label following his appearance on the 'Federation Of Rhythm II' compilation earlier this year.

The tight and funky 'Brickyard' opens with a high-speed groove and a taught synth riff darting about the mix to seductive effect, before 'Driftage' gets more raw with rickety percussion over bulky drums. The synths are dubby and liquid as they get smeared about the mix to bring dynamism to the groove. There is then darkness and heaviness to 'Nocta' with weighty kicks and alluring vocal sounds drifting through the late-night airwaves.
Title track 'Coral Knife' cannot fail to sweep dancers off their feet with its fizzing synths and smooth drum loops overlaid with icy hi-hats that get you into a meditative state, while 'Encoder' layers up bleeps and squeaks over a signature linear groove that is detailed with muffled vocals and distant cosmic stars.

As always with Mutual Rytm, the package rounded out with an impressive digital bonus in the form of 'Multiversa' - a driving and thunderous techno cut that closes the show emphatically.

"I am in shock of what you are saying and don’t you go anywhere else and spread such false information”

Inspired by the underground night life in Iran, where Salar Ansari’s journey as a selector started in the mid-2000s, each cut on 'Chi Gofti? Nagi Jayi!" touches on a specific mood & scenario.
"Dorehami Melo دورهمی ملو", referring to a mellow get together after the last rave being raided;

"Tu Jaddeh Savaarkaar تو جاده (سوارکار)" is the rush of driving through the mountains listening to driving beats, heading to a party on the outskirts of Tehran through mountains

"Raghs e Ghalamou رقص قلمو" touches on the artist's commitment to painting sonically to unify with his people through creativity and resonance

"Long before discovering house music as a teenager I was bred as a dancer, a slave to the rhythm, in my parents vibrant house parties of dancing the night away till you drop. This is my culture, to surrender, to give in, to react to the rhythm, every corner of it. PGS is family to me and I am so happy to have this music that is very dear to me, come out through this imprint. PGS is about community, Hamtramck is about community, Detroit is about community, Iran is about community, this music is about community." - Salar

Written, produced, recorded by Salar Ansari
Design by Salar Ansari & Ben Saginaw
Thanks for: Ahang Ahmadi, Sina Matinsefat

"Tu Jaddeh Savaarkaar تو جاده (سوارکار)" music video by Vinnie Massimino, shot by friends in Iran

[a] A1. Dorehami Melo [دورهمی ملو]
[b] B1. Tu Jaddeh (Savaarkaar) [تو جاده (سوارکار)]
[رقص قلمو]

Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.

DJ Support: Dam Swindle, Jimpster, Fouk,Franck Roger, Miguel Migs, Fred Everything, Tedd Patterson, Saison, Brian Tappert, Don Carlos, Sebb Junior, Ralph Session, Marcel Vogel, Marc Cotterell

Embark on a journey through the pulsating heart of Berlin's house music scene with Luca Olivotto. Italian-born and Berlin-based, Olivotto's beats resonate with the energy of the city's underground, blending seamlessly with his Mediterranean roots. As a DJ, Olivotto commands dance floors with finesse, effortlessly blending deep and house music. As a producer, he crafts sonic landscapes that evoke emotion and ignite the imagination. This album encapsulates the essence of Olivotto's musical universe: a fusion of cultures, a celebration of diversity, and a testament to the universal language of music. Experience the rhythm of Luca Olivotto, bridging continents with his electrifying sound.

Oliver Dollar unveils part two of his ‘Contemporary’ EP on Rekids.The release features collaborations with Brillstein and Harvard Bass.

Part two of Oliver Dollar’s ‘Contemporary’ EP will be released this July via Rekids. It follows part one, released in April of this year, which saw him team up with ADMN, Austin Ato, and APROPOS and featured a remix from Brian Kage. With the first part winning support from the likes of Laurent Garnier, Nightmares On Wax, and Dam Swindle, this next EP continues with an equally promising cast behind the wheel, as Dollar brings in Brillstein and Harvard Bass for more irresistible house funk across three tracks in part two.

First up on the ‘Contemporary Part Two’ EP, Jesse Rose, Diplo and Switch collaborator Brillstein joins Oliver Dollar for ‘Pill Popper’, a real dancefloor-igniting underground cut with an unforgettable hushed vocal over infectious rhythms. It is followed by Oliver Dollar and Harvard Bass’ ‘Funky Brewster’, which sees the Tuskegee, Relief Records, and Turbo artist complement Oliver’s house style with signature jackin’ flair. A repeating vocal and hard-hitting drum beat keep centre in this party anthem before Dollar flies solo for ‘Funked Up’, in which a low-slung groove and dreamy, chopped-up vocal work in harmony before breaking down into a jazz-inflected midsection,
making for the perfect outro to a fantastic two-part series on Radio Slave’s Rekids.

Anaconga”, the fourth Dome album by Bluey and Citrus Sun, is an homage to jazz and soul greats from back in the day, and is the band’s first to be released as a gatefold 2LP.

The album opens with the gorgeous Maynard Ferguson tune “Mister Mellow” from the Seventies, with backing vocals from Tony Momrelle and Deborah Bond. Bluey and Richard Bull share the production . “Down For The Third Time”, the album’s lead single, is a deliciously funky remake of a classic Bobby Caldwell groove from 1978, with Natalie Duncan on vocals and Dominic Glover and Charlie Allen tearing it up on trumpet and guitar respectively.

“Mystic Brew” was originally written and recorded in the Seventies by funk, soul and jazz keyboard legend Ronnie Foster and Bluey includes it “to say thank you for his massive contribution to the music we love and are inspired by”. Erykah Badu’s “Honey”, also with vocals by Natalie Duncan, features beautiful trumpet and flugelhorn from Kevin Robinson.

The stand-out new songs on the album are “Santiago”, which features the young Indonesian harmonica player Rega Dauna, who starred on the band’s “Hard Boiled” instrumental hit from their last album “Expansions & Visions”, and “In Search of the Blue Note”, with Dominic Glover on flugelhorn and Graham Harvey on keyboards, which Bluey says is “inspired by New York City’s jazz history and nightlife”.

Bluey sums up the mood of the album: “I hope that the rhythms wrap themselves around your consciousness and the music slithers into your soul, whilst you bask in the light of the Citrus Sun! Unconstricted love, Bluey”.

Citrus Sun is the mainly instrumental-oriented side project which runs alongside Incognito and features many of the same musicians. The band released their first Dome album “People Of Tomorrow” in 2014.

Michael The Lion and Natasha Kitty Katt began collaborating as Natasha found a second home in Philadelphia. The two have a mutual love of classic disco and found a kindred spirit in Suki Soul, who has been tearing up the scene the last few years in Northern England. I Found Peace features Michael on guitar and Natahsha on drum machines and synths alongside Michael’s long-time studio band mates. Classical composer and legendary Pittsburgh hip hop producer Jules Krishnamurti adds bass guitar and University of Pennsylvnia jazz ensemble leader Dan Paul plays keyboards on this incredible modern disco classic. Pontchartrain brings all the right touches to the club mix, along side some heavy house mixes by Tonarunur (aka B.G. Baarregaard) to round out the first Whiskey Disco release in several years.

Jaden Thompson returns to Crosstown Rebels with ‘Downtown’, with remixes from HoneyLuv and Ghoulish. Marking his first solo outing on the label following ‘Talking Walls’ alongside Seth Troxler, the fabric resident impresses once more following recent material on Classic Music Company, PIV and his own Midnight Parade imprint.

A new school talent whose sound takes cues from Chicago while pointing to the future with forward-thinking allure and energy, Jaden Thompson’s ascent is well-documented, having been tipped by an endless list of industry heavyweights and global media outlets from an early age. Releasing on labels such as Cuttin’ Headz and Classic Music Company, amongst others, plus his own Midnight Parade imprint, Thompson’s sound and dynamic sets have seen the UK talent become a favourite for many while also hosting his ongoing Rinse FM show and curating mixes for the likes of Circoloco and Keinemusik through to Nike for it’s annual Air Max Day. Having made his label debut on Crosstown Rebels in 2022 with his standout collaboration ‘Talking Walls’ with Seth Troxler, Thompson now returns to Damian Lazarus’ legendary imprint as he serves up his first solo record on the label ‘Downtown’ - backed by remixes from surging US DJ/producer HoneyLuv and emerging UK talent Ghoulish, who makes his debut on the imprint.

Merging various shades and sounds from across the electronic sphere, ‘Downtown’ brings vibrant vocals, energy-charged synths, and sharp metallic percussion, all balanced perfectly, to the fore. HoneyLuv’s remix brings jacking drums while warping the original’s vocals todeliver a peak-time interpretation before Ghoulish flips the script, utilising off-kilter drums and spiralling lasers amongst heavy low-ends.

New Release "Gypsy Heart / Beautiful Lies SKYLINE RECORDINGS Is proud to be release another OG banger from the wonderful Ms Betty Black "Gyspy Heart" is a driving dancer with sassiness and flair, just how Betty like it. Power vocals with a punching back beat, screaming for the dance floor. Betty goes back to the beginning when Rhythm met the Blues under the watchful eye of Gospel and the African-American Spiritual. It's mystical and cinematic but gutsy, and funky to boot! Roots Revival Soul with a sophisticated twist. On the flip "Beautiful Lies" Perfect song, uptempo dancer - which throws you staright into a story, where Ms Betty Black takes you into another world, but one that so many women, in particular, can relate to - another strong vocal mover, with a motown overtone. Summer fun. SL45030 x400 copies includes paper insert slv "I always expect excellence from her and she's delivered again" - Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio6, 01.06.24...

Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track.

Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush).

The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flügel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix.

For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise.

On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

Luca Trentini's 3rd release on Blessyou, further exploring and perfecting his disco sample-based recipe to dancefloor enhancement. A well put together club oriented tool kit put forth by a seasoned DJ himself, Luca shares his club secret weapons with us once again. Coming on strong on the A side at 124 BPM with a driving momentum splashed with acid nuances - peak time main room Cocktail D'Amore material. "So High!" drops down to 120 BPM with a more playful use of his sample pallets.

Moving down to low 90s BPM on the B side with a downtempo chugger jungle flavoured cruise as he befriends a few animals with a lot to share, including what sounds like a Kookaburra and a few big cats. Something here for everyone.