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“The 45 Collection” by Lewis Parker is released on a five x 7-inch vinyl set, including unreleased songs and instrumentals from the multi-faceted producer. Record No. 4 is: Lean Back Remix (Inst) B/W Sunny Dedications (Inst). Unreleased instrumental version of “Lean Back” remix, taken from “Put A Beat To Rhime”, 2004. Unreleased Instrumental version of “Sunny Dedications”, taken from “It’s All Happening Now”, 2002. The man with the golden sound is back to showcase some rare material from his personal archives for the first time with this beautifully packaged and limited-edition 45 set. The set of 5 seven-inches features unheard original versions, instrumentals, and unreleased songs from a classic period of output between 2002-2006, including beats from the sessions of his critically acclaimed “It’s All Happening Now” LP and the “Put a Beat to a Rhyme” remix project. All this is available for the first time. After a long stay in Queens, NY, soaking up the energy and grittiness of the city and working with Joey Bada$$, the London-born musician is back in the UK. After several successful previous releases with KingUnderground Records, Lewis is now releasing a special treat for long-time fans. “Sunny Dedications” featured in instrumental form for the first time ever; is a classic beat taken from Parker’s seminal “It’s All Happening Now” album released in 2002 on Massive Attack’s Virgin imprint, Melankolic. The lush strings and hard drums still strike a chord over 15 years later. As Parker continues to maintain his musical integrity and commitment to the traditional Hip-Hop aesthetic while simultaneously pushing his sound forward, KingUnderground brings a rare snapshot of the veteran producer’s cutting-room floor.

Transatlantic legends Fast Eddie and Liquid in their debut release.
If you can remember that feeling of opening a brand-new, shrink-wrapped piece of USA house music vinyl then you are going to love this new release from Music Mondays.

Full circle, from Chicago to London and back again, the absolutely legendary hip house and acid pioneer Fast Eddie (think Acid Thunder, or Yo Yo Get Funky) has teamed up with UK rave stalwart Liquid (think Sweet Harmony, or Liquid Is Liquid) and they've produced an absolutely massive new EP... a limited release in December 2019 on Billy Daniel Bunter's label.

From the 21st century hip house slab that is Get Straight, b/w the more house vibes of Clout Chasing, this unique piece of collectable vinyl will delight trans-Atlantic house and rave connoisseurs alike. Get involved. Step to this, because when they're gone... they're GONE!

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Pedro "Ramayá" Beltrán, born in Patico, a small town in Colombia's Bolívar province, is a maestro of Colombian folkloric music known as the King of the 'caña de millo' flute, although he is also proficient in various percussion instruments as well as the reed instrument known as 'gaita'. He founded La Cumbia Moderna de Soledad in the early 1970's. With this group he set out to "modernize" the folkloric music of his people, adding electric bass and a brass section to

fresh arrangements of cumbias, porros, fandangos, puyas and other costeño genres. "La Clavada" (1979) was La Cumbia Moderna de Soledad's sixth record and first for Codiscos' Costeño imprint.

The LP has many excellent examples of Beltrán's inventive mix of the ancient and the modern, making for a collection of tunes brimming with tradition and yet fearlessly bristling with innovation, not the least of which is 'Crees que soy sexy', with its gaita refrain mimicking the main melody of Rod Stewart's international disco smash 'Da Ya Think I'm Sexy'.
The album's title song was a massive hit in Colombia and has become a standard of the genre. Restored to its original glorious sound, this LP is poised to be rediscovered as an innovative yet rootsy gem. Presented in facsimile artwork and pressed on 180g vinyl.

Part of Vampisoul's reissue series of classic LP's from Colombia's Codiscos and it's sublabels such as Zeida, Costeño and Famoso.

Club Internacional dig deep to launch their new global reissue series in style with two long lost cuts from Rio-based label Top Tape. First up is Jose da Silva aka Zeca Do Trombone.
A massively respected instrumentalist, he has worked his trade over the years with many of Brazil's leading artists such as Tim Maia, Milton Nascimento, Elizeth Cardoso, Beth Carvalo, Martino Da Vila, Gonzaguinha and Carlos Dafe amongst others.
He also produced a very much sought after LP in 1976 alongside Roberto Sax which was finally re-released this year on Mad About Records. Tema Do Brisa dates from a few years later in 1978 and is Zeca's only solo 45 single. Never released on digital and never reissued on vinyl before, it is with great pleasure that Club Internacional re-launch this psychedelic jazz and heavily funk influenced gem with its still stunningly fresh sounding drum patterns to a new generation of listeners. Fans of jazz, funk, rare groove and Brazilian music in general will appreciate the strong vibes of this original track and be delighted to finally have this record in their hands. The track represents a unique moment in the career of a great musician fully in control of his instrument and more than willing to test its musical boundaries. Zeca continues to play out as an artist regularly in Brasil right up to the present time.
On the flip side, Sambacanas, or Os Sambacanas as they were sometimes also known, were a group of Samba musicians recorded by the Sao Paulo based producer Julio Nagib.
Although they were mostly known for a samba covers LP entitled 'Sucessos Da Juventude Em Tempo De Samba' (re-released in the UK under the title 'Fly Me To Brazil'), this song, Panga, Danga, Panga, was the A side of their only 45 single release for Top Tape which came out in 1976. Again this track has never been re-released before in its 45 single version, and has not been made available digitally. A beautiful example of raw and simple Batucada-style Brazilian samba music infused with Latin funk vibes, it features excellent vocals and percussion including the berimbau and cuica. Club Internacional hopes you enjoy this journey back to rediscover these very different, but wonderful, long lost sounds of Brazil on this limited edition vinyl 45 pressing to add to your record collection. Each Club Internacional edition may take some time, but it will be worth the wait!

Adapted Vinyl was a UK based techno label active in the late 90’s that picked up regular DJ support from taste makers of the time ranging from Jeff Mills to Mr C.

This, the label’s 7th record disappeared before a public release when the Integrale Muzique distribution company went out of business in 2008, but now gets its first official release date after years of very limited availability

Label founder Suade is the artist behind this release and these days he is best known as a highly-sought-after mastering engineer working for artists like Dense & Pika, Paranoid London, Jamie Jones and Vitalic.

Focusing his energies into family life and the fine tuning of other peoples music it’s rare to see Suade’s own music on a new release, but this hasn’t stopped him from collaborating on original tracks with the likes of Magda and Radioactive Man in recent years.

The EP has four contrasting tracks all with different moods and tempos all blended with Techno’s classic motoric drive.

With it’s absence from the usual music marketplaces creating something of a mystery this record ended up receiving a new, unofficial name on Discogs - The Citadel EP which is a title taken from the broken-beat second track on the B side of the record.

The Citadel is just one of the highlights on this eclectic EP, as it’s a Latronic Notron sequencer workout that patiently deploys layered synths in ever-shifting cross-rhythms for a languid 5 minutes before its deep, underpinning bass arrives evoking desert travel and arrival.

Baikal, named after the huge freshwater lake in Russia, is another stretched out meditation on tone and harmony acting as a foil to the delicate and vibrant Latin American percussion that filters in and out through a massive stereo Moog Modular system creating an energetic yet static, ritualistic atmosphere.

Trajan - the most driving track on the EP, gives a nod to the Probe era Richie Hawtin sound with a touch of Drexciyan melodics with shuffled percussion and bleeps over a snaking TB303 shaped bassline where the classic Acid box is given the role of control sequencer only commanding the thick, dirty oscillators of the big Moog.

A1 track Felix is a contrast yet again. A big room melodic Techno piece with another massive bassline and an almost orchestral level of layering, building to nine counter-melodies in total before letting rip with a classic TB303 acid line that builds from the heart of the track.

Here we are with our 12th vinyl release. We're really proud of our back catalogue, and even prouder to be able to add more to it. And what better way to expand our portfolio than by inviting yet another exciting artist to join our 12" club. And this artist is Ricky Force - a man who's seen it all in the more breakbeat-oriented face of drum & bass, pushing his trademark intricate percussion programming since 1999, releasing quality music on labels such as Reinforced, Repertoire, Omni Music, Pinecone Moonshine, DSCI4 or 117, and now finding home with us.

Without further ado, here's Ricky Force and his latest single - a pair of not your usual 170-BPM masterpieces leaning heavier towards roots vibes, jungle, halfstep, and dub (Ricky's from DUBlin, so it makes total sense). "Ecstasy" starts with a looped vocal bit that leads the listener on towards a thick bush overgrown with full-bodied kicks, sharp, frantic breaks, and a bassline composed of massively booming bits that are bound to keep you on your toes, especially if you have the chance to enjoy it on some proper soundsystem.

"Firehouse Dub" is, in turn, a solid halfstepper strongly rooted in jungle revivalism. It marches slowly and steadily, unfolding some interesting stories on the way - a series of thickly-arranged broken beats, a pack of blares, some vocal bits here and there. Put together, they create an amazing mixture of classic sounds organized up to modern-day standards with surgical precision only Ricky Force is capable of. A true feast for all those into the less polished and more true-school shades of drum & bass.

clear & black coloured mixed viny

After the start of his Dubs Galore family with 3 massive releases from Hebbe (003), Khanum (004) and Muttley & Quasar (005), label boss Von D returns to his own imprint to introduce 2 very special remixes of 2 already mind-boggling originals.

On the A-side man like Hypho steps up to fuck shit up with some proper "Hardcore Dub music". On the B-sde we have the first 140 Moresounds tune ever, who flips the mighty "Frictions" blessed with Rider Shafique's mesmerizing vocals.

006 is one for the heads, for the floor, for the systems, for the dance.

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. 'Sunizm' is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. 'Follow Me', the second of two singles surrounding the album, is complimented with a pseudo drum’n’bass treatment by enigmatic Greek artist Jay Glass Dubs, as well as a massively triumphant b-side entitled 'Ozone House', which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, 'Sunizm'.

Beijing-based techno producer HWA (aka ELVIS.T) is releasing his first 12" EP "Granular Line" on Ran Groove, the sub-label of Bejing's Ran Music. This EP has 2 Deep Pulsating Techno tracks included as well as one Droning Ambient track produced using his customized modular synth system. As one of the leading figures in China's techno music scene, HWA's left-field experimental sound design, delicate poly rhythmic beat groove, dark and twisted massive soundscapes and the full hardware workflow, have earned him a reputation across China's dance music scene. Granular Line is the crystallization of HWA's persistent efforts on using the modular synth to produce techno music, it is the new envelope of his techno sound aesthetic.

HWA was born and grew up in Taipei and kicked off his DJ career in 1998 and soon started to produce his own music. He relocated to Beijing in 2006 and immediately became a part of China's electronic music scene, which had just emerged a few years before and was on its fast-rising phase. HWA is considered a brute force in the promotion of techno music and culture in the country, he was the early co-founder of Beijing's Lantern club, the most influential techno club in China's capital, he was also the co-owner of Acupuncture Records, which is the only techno label in China back in the 00's. In the past decade, he has played in the finest clubs and festivals in Europe, such as Tresor in Berlin and ADE festival in Amsterdam, as well as the top clubs in Toyko, Seoul, and Taipei, where Asian's best dance music scene exists. In 2016, he appeared in China's first ever Boiler Room event with his modular synth system, created the climax of that night and his live set was considered one of the best moments of Boiler Room China.

HWA has deeply embraced modular synthesis in recent years and it has become the centerpiece of his music production workflow and live performances. He attempts to explore randomized beat sequences and experimental sound design furthermore. He's one of the initial members of The Modular Commune, a Beijing artist community focused on the use of modular synths, which has gained a lot of attention across the globe. Through his music work and live sets, HWA's unique athletics and understanding of techno music made by machines, has become a unique label of his.

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

Suha's "Hora EP" consists of organic bodies composed by an electronic mind.
On his first release on The Magic Movement, the emerging electronic musician from Istanbul imagines a three-track story: The mythical figures - Hermes and Hezarfen - are in search of a unified space named Hora above variant timelines.

Under the arabesque shadow of occidental chords and oriental strings, the EPs multi-layered tracks take you on a cosmic flight: Folkloric dance elements build up progressively over a driving rhythm while Suha's ethereal vocals flow alongside old chants. Massive brass and gritty 70's synths accompany ancestral lyrics that herald of unknown realities soon to be realised.

The EP is produced and mixed by label head-honcho Noema, whose magical touch reflects through well-thought arrangements of Suha's compositions and their powerful sound.
In this EP, you'll be witnessing a harmonic gathering of two figures on the obscure mountain of Hora.

For the first time this massive tune by Esnard Boisdur is pressed on record..One of the standouts in the Gwo-Ka genre.. Comes with a rework on the flip by Africaine 808 (Hans Reuschl & Dirk Leyers) - they used the original stems and added drumcomputer and extra live percussion, synthlines, little dub effects.. Not the ''usual standard threatment'' here!! This is class!

“You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like COSACK, ANZALA and ESNARD BOISDUR have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.

S-Type returns with his first full EP project in three years with the expansive “S-Type-Beat”: dedicated to the art of hip hop production for its own sake.

The sound of S-Type has been defined by producing massive, melodic instrumental hip hop played out in clubs as dance music - but this was always a side effect of growing up far away from the rappers he sought to collaborate with. His track ‘Billboard’, released alongside the first TNGHT and Baauer music was seminal in the genre that some American festivals mistakenly termed “trap”. But the reality has always been that S-Type’s primary inspiration is hip hop. For the online subculture of DIY producers dating back to early ‘00s Louis Den beat battles to his own releases to his co-writing, S-Type is a leader of the beat scene.

The recent term “type beat” refers to the scene of uploading your instrumentals replicating the sound of your favourite production on commercial releases, tagging the original artist in the title of the upload in the hope your track gets exposed to the fans of the original ie. “Drake-Type-Beat”. On this new S-Type ep he celebrates the booming scene of producers and affirms himself as one of the best doing it: your favourite producers favourite producer.

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

Formed in Bradford in 1980, New Model Army's beginnings were inspired by Northern Soul, Punk Rock and the incendiary atmosphere of the times. Since then, they have had a long, creative and eventful journey. They have been massively influential in 'post-punk', 'folkrock', 'political-rock', 'goth', 'metal' and all kinds of musical sub-cultures but they have steadfastly refused to belong to any club or style. Members have changed over the years and musical styles have evolved but at the heart of the band Justin has remained, along with a distinct and sincere belief in the power of music to inspire and effect change on both a personal and political scale, locally and globally. 'From Here' was recorded earlier on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment yet has profound messages for the world we all live in and the times we are experiencing. The album was mostly written in just two months and recorded in only nine days and is the follow up on the two hugely acclaimed albums Between Dog And Wolf (2013) and Winter (2016). New Model Army decided to work again with Lee Smith and Jamie Lockhart, with whom they have developed a productive relationship over a few years and who persuaded them to leave a lot of the details of the music to spontaneity. “This album has a feel that is different to our other albums, but it still contains all the elements that characterise our peculiarly unidentifiable music – perhaps even more than ever. And “From Here” was an obvious title. The record belongs to a very special place and a particular time – what is happening in the world, where we are as a band and where we are as people.” Print ads:Vive Le Rock, Classic Rock, Record Collector, Classic Pop). Artist undertaking promotion/interviews/press (Classic Rock, Record Collector, Vive le Rock, Louder than War, Long Live Vinyl). Extensive UK live tour Oct 8th - Dec 21st.

After a string of successful singles, "Deixa Musica A Tocar", "So Vejo Voce", "E A Felicidade" and the DJ Harvey supported "Te Faz Bem" and "Serei Seu", the Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album "Deixa Musica a Tocar" .
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.
The album's leading single "Te Faz Bem", a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide, especially due to the massive support from DJs, from Harvey to DJ Pippi to Pete Tong and more.
"Serei Seu" the second single, another Ibiza fave, is a funky party track that sounds like a modern Jorge Ben. The single "So Vejo Voce" is Stan Getz meets the beach vibes, "Festa De Relaxamento" an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
"Lullaby For Impanema" is sunset material. The band's first recording, the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported "Some Di Some Day" is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (vinyl only) - Can't Sleep and Nada Mais, both recorded in a Music For Dreams writers camp recently, and the 12 minute journey of Serei Seu by Danilo Braca.

Intrepid, hard-hitting steppers from London producer Junior Loves. Self-released 4-track 10" with hand-drawn artwork, cut by Leon at Music House, Very limited press.



Sinewy, hard-hitting steppers from London way. Junior Loves has a bit of form, last seen on Tabernacle in 2018, but this new, self-released, hand-scribed 10", with two tracks served up discomix style, is very much its own thing: a timeless, unpretentious cry-tuff encounter that combines deeply rooted, meticulous production with a rawness and vulnerability in a manner that is properly compelling. 'Banner' and its more stripped, spatial version set the tone - propelled by Shaka-ish 4/4 drum-murderation and bolshy, corkscrewing, blue-going-on-purple synth lines that shrink the distance between early Ruff Sqwad/Rapid instrumentals and melancholic ambient techno. The grimy forward-lean is there also in both excursions of 'The Nore', but this one drifts further into ethereal cold-space, recalling John T. Gast's druidic soundboy cuts, dizzyingly psychedelic but precise and uncluttered, mashing up brain/dance/everything with perfectly judged patterns of attack and decay. Very limited press, cut by Leon at Music House. Massive tip on this one!

Straight out of one of the UK’s most innovative bass music hotspots, Bristol, two of the scenes fastest rising stars Glume and Phossa join the Subaltern roster with their massive debut split EP.
A - Glume & Phossa - IMHK A collaborative effort from the two talented producers, the EP opener IMHK packs double the punch as well as showing a lot of love for the details. Setting the eerie vibe of the release straight off the bat, IMHK is a surprisingly refreshing track that will light up any dance. Waterfalls of melodies meet hard bass hits, all surrounded by a masterfully-composed, rich-in-details and continuously-evolving drum beat. Get ready to walk into a medieval world of wizards, spells, castles and dragons - Glume and Phossa will be your guides.
B1 - Glume - Shriek Time to enter the dungeon and follow our loyal conductors deep underground. Relentless is the term that comes to mind when indulging in this stone cold, yet somewhat uplifting banger. Glume’s solo piece on the EP delivers pulsating bass waves accentuated by tonal percussion lines, embedded into a horror-movie-like atmosphere.
B2 - Phossa - Deathly Stare It’s Phossa’s time to tell the tale on the third track of the vinyl, showcasing some of his signature style synth lines embedded in an ever-creeping atmosphere. Heavy standing bass walls accompany the trippy cascade of sound, ever enchanting and luring the listener deeper into the maze. Will we find our way out?

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

Founded by J.D. and A.D Burrise in 1970, the 9th Creation went on for almost two decades and released 3 albums and half a dozen singles that regularly flirted with the US Charts, getting them featured on Soul Train in 1975 and allowing them to tour North America and Japan a few times over. 9th Creation regularly shared the bill with Irma Thomas, James Brown, The Whispers, The Sylvers, The Main Ingredient, Con Funk Shun and many others.

The music that J.D, A.D Burrise and their 10-12 band members created was a perfect combination of West Coast raw soul, disco and funk that resulted in a religious fan following across the globe.
To this day, The 9th Creation has been sampled by Pete Rock & C.L. Smooth, Artifacts, Quasimoto, 3rd Bass, Basement Jaxx and many others.

9th Creation was undoubtedly one of the greatest funk band of the Seventies.

Past Due Records is proud to officially reissue the 9th Creation's essential full lengths and singles, carefully remastered and all in their original artworks. 'Mellow Music' is the most sought after 7' from 9th Creation. This single marks the band's new direction and was announcing an album that remained unreleased (more on that later). This single is a boogie funk gem and both tracks are pure monsters of heavy bass, synth, horns and massive vocals. A must have that'

Onward and upwards - the Belgian dubstep imprint Overdue maintains its super-heated release schedule with full force. With a meticulously curated artist roster and continued support by the likes of Mixmag and other vital institutions, this release yet again perfectly aligns with their vision of subculture sound system music. Spearheaded by a positively prolific artist, their fourth record features Teffa on the controls. Following up on some massive 12" releases on crucial labels such as White Peach Records and Foundation Audio, the up and coming artist furthers his status as a versatile and highly capable producer with three tracks of unadulterated sound system pressure - including a weighty collaboration with Chad Dubz.

Arming the record, "Shell It" heads straight into the matter at hand, precision engineered weaponry clocking in at 140 BPM. Drums like mountains, effortlessly heaving immense amounts of low-end, smoothly embedded on silky pad swells. Fusing old-school elements with the present like few others, the lively arrangement does the rest to keep the crowd aflame without end. Music with an attitude - rewinds assured.

Fasten your seatbelts as the record kicks into overdrive once again with "Sludge" as faint police sirens and reverberate into oblivion only for it to implode into an instant dubstep classic. Driven by its ridiculously effective and minimal instrumentation, the underground unravels itself in sonic form. Spacious pressure wave emissions, especially primed for the dance.

Stepping up to the title track, "Illegal" tops off the 12" most beautifully - packed with Grime and Breaks influences and mesmeric melodies. As unshackled 808's pound away alongside a murderous set of percussions, the electronic soundscape treads through hypnotic harmonies and dance-inducing groove - Teffa signature style at it's finest.

Having discovered electronic music at the end of the 90’s, Thomass grew up going to raves where trance was one of the main styles played at this massive partys. The influence it had on him was planted deeply into his DNA and this EP is the interpretation he has these days of the genre. He moved on to different pastures soon after but the style was already in him. Thomass now takes the old fashioned elements he still likes and takes them to new directions. Fueled by gated chords, dreamy arpeggios, trippy vocals and percussions this tracks are destined to take you back into the past and bring you right back to the present. Forget what you learned. Trance not trance.

banging Ganez techno... Best tuens from the Digital label pressed on wax for Vinyles lovers & Deejays ! Massive ! One of the best from the sery !

“Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway.
Humanoid's classic acid house single, ‘Stakker Humanoid’, highly regarded as one of the key tracks from the era (Richard James (Aphex Twin) sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal.
Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.
Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records.
In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian.
Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signalling a possible return.
“Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style.
The track ‘Polymath’ is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile ‘Traktion’ is a break beat, pulse laden, bass heavy monster. ‘Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst ‘Post Humans’ combines thumping 909 and 303 into an acid hallucination.

‘Verdigris’ the new EP from Japanese artist Atsushi Izumi, is a deep dive into the crevice of the mind. It is an exploration of where fearful emotions lie and confronting them. It is only through this conflict that light can shine through in the end.

The Osaka native has a background in music and sound design and as such found his sound going through a metamorphosis from Drum n Bass to a more experimental sound. His EP ‘Snow’ was released under the subtract imprint last year and saw the initial phase of this transformation. It was followed up by ‘Lansing / Mistrust’ via The Collection Artaud, which continued his growth of using slowed out heavy percussions surrounded by frantic synths and modulations.

Atsushi Izumi’s use of long drawn out hallow synths is like an ominous cemetery at night before these powerful percussions detonate in. He uses heavy spaced out bass drums, either as a single or double beat, which simmer as they echo and roll. They are surrounded by these chaotic, textured synths, which can sound like a cicada, hovering and distorted to give a mechanical effect. It feels like being thrown into the woods late at night, eerie yet calm in the beginning, before extreme panic sets in and you feel like you’re being chased.

Japan witnessed the end of the world up close and it is still reflected in their art and music: it delves into the sadistic and explores deep themes of melancholy and the apocalypse. This is juxtaposed against pure joy and serenity, showing that life is there to be enjoyed and struggles have an end, which is translated quite coherently to this piece.

As an extra bonus to all this, there is a scintillating remix from ANFS. The Greek adds a bit of pace to the track Zeit. He is an artist who enjoys frantic distorted techno and it shows in this cut. He takes the basic elements but whereas the original slowly introduces the percussions, ANFS bangs straight in. It’s structured yet frantic and a massive sound.

‘Verdigris’ is due for release on 17th May 2019 under the mysterious Swiss label Thrènes, that is known for eye-catching signature artwork and a deep and dark techno sound.

Kalim Shabazz looks to find common ground between the old and the new. Electronic music with a soul. Organic electronic music that moves the dancefloor in a new, but not unfamiliar, direction…

This 3 track EP with keyboardist Jerrell Battle signify the true organic deep house vibe with "Bassic" a deep melodic journey with guitar riffs that moves you. On the flipside "Dana Byrd" beautifully demonstrates the power of the voice as "She" is dedicated to the most important women in our lives. Delivering that true NY Soulful vibe you would hear at the Shelter. Lastly "Sound Module" finishes the record with straight deepness.
Shabazz a true Brooklyn native, made his mark in New York in 1993 with his legendary Afterlife party with Kim Lightfoot. Since the early 90's Kalim has been working with partner Nick Jones; recording history together with their first release, “Wake Up People”, on Bobby Konders’ Massive B Records which featured Satoshi Tomiie & Cassio Ware. Shabazz and Jones continued this partnership under various studio monikers including ‘Moments of Soul’ and ‘Soul Movement’ with releases on labels like Wave Music, King Street Records and Shelter Records. The rest is history!

Visions Recordings is back with the second volume of their compilation 'The chromatic Universe 'presented by Alex and Stephane Attias. This second opus is full of exclusives tracks mixing styles and genres with a colourful palette of grooves from Paris to New York, from Detroit to London, from Italy to Switzerland and beyond. This compilation is international as you can see and Visions is very happy to release 3 vinyl singles as the compilation to have a collection and a better sound quality rather than squeezing all the tracks on an album. We will also have later the digital release and an exclusive very limited CD.

Those three Ep are holding 4 tracks of pure fire. This THIRD and last part of this compilation is just what we do love, a mix of styles in the groovy genre of electronic music, Alex Attias teaming up for the first time with Sassy J for their collaboration that sees the day of a groovy monster mixing elements of afro, deep Detroit house, jazz and latinesque vibrations followed by Detroit kid Javonntte with a jazzy bossa track re edited by Alex. On the flipside, we got a new version of Alex Attias and Luman Child disco track ' Cookie Monster ' from last year here taken to a housey journey by the two Italian heroes Patrick Gibin and Volcov. Last but not least, a newcomer from Switzerland under the name of Sebastien Loopes, a talented young producer mixing various styles, release here for the first time a heavy afro electronic massive clubby jam that will make you move on the dancefloor.

Jakarta/Indonesia based DJ/Producer/Akamady Records boss Gerhan Ferdinal & friend's project "KOMODO" made 2x floor killer tunes. Many people have been waiting for this 12" since Ene boss CHIDA played "Night Time" at his Boiler Room show in 2014. And "Make It Scream" is massive & heavy killer tune too. Underground music/party scene in East South Asia has grown up so fast these years. and still there are many great artists world unknown. Ene planning to release more Asian artist, new stuff from friends in the world in 2019.

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This follow-up single surrounding the Continuidad album boasts the dirty little secret Bailemix of album track Recife—we wont go as far as uttering the 'T' word, but this is unbridled merciless tops-off festival gear for the massive. The flipside is another exclusive non-album cut Cuatro Meses De Verano, a rhythmic build-up that breaks into a low-slung funky stomper, Tobar's idea of a warm-up weapon.

DJ Shadow has shared the artwork for his anticipated live album and film, Live In Manchester: The Mountain Has Fallen Tour.  Recorded at a sold out Albert Hall in Manchester, England, the release (out 13th July on Mass Appeal Records) is now on vinyl, CD, and digitally.  

Live In Manchester: The Mountain Has Fallen Tour, documents DJ Shadow's most ambitious, extensive worldwide tour yet - surrounded by stunning visuals, he blasts through classics and more obscure cuts from his discography.  Watch the trailer here.    

The release will be available on gatefold 12' vinyl, CD / DVD double pack, digital audio and digital video formats.  

The news follows the recent announcement of DJ Shadow's podcast, DJ Shadow Presents Find, Share, Rewind, broadcast on Manchester-based radio station and music platform, MCR Live. Episodes are online here, and the first instalment hit number 1 in Apple's music podcasts chart. 

Bay Area producer DJ Shadow (Josh Davis) was catapulted to prominence thanks to his landmark debut album, Endtroducing, acknowledged by Guinness World Records as the first LP created entirely from samples.  Since then, Shadow has continually moved forward releasing innovative albums and collaborating with the likes of Thom Yorke, Massive Attack, Jason Newsted (Metallica), Mike D (Beastie Boys), Zack de la Rocha and several others.  Live In Manchester: The Mountain Has Fallen Tour continues an exceptional couple of years for the producer: in 2016 he unleashed innovate new album The Mountain Will Fall, which birthed his biggest single yet, Nobody Speak featuring Run The Jewels; a massive worldwide tour followed - The Mountain Has Fallen Tour - plus an EP featuring collaborations with Oscar-winning film composer Steven Price, rap maverick Danny Brown and hip-hop hero Nas. 

Hip hop/rap/producer/songwriter released his second Columbia album on CD in January 2019 - this is the double LP format of the same album. Recent collaborators have included Drake, Metro Boomin, Young Thug, Gucci Mane and the recent massive hit "Rockstar" with Post Malone. Specialist music press coverage, with ads, features & reviews. Online/social media activity. Video plays across MTV/Vevo. Profile across streaming platforms. Poster campaign.

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.

After prominent releases on Rekids, Classic or Copie Blanche, one of the most promising french young house music talent Armless Kid is joining the VERTV family for his new EP : Choices.As a Millennial, questioning his own condition of young adult, the 24 years old producer explores the themes that strike his generation like love through the digital age (Internet love), the pursuit of a meaningful life and the need of affirmation through vigorous choices while options are abundant. Melancholia is one of the consequences of this quests (Flirting With Regrets) but it also gives a compelling desire to enjoy life to the fullest (Deep Energy) even if it means eating junk food and watching silly VOD with friends (B3A).This EP is good example of Armless Kid's music, catchy, fun and elegant with strong roots into the very French tradition of jazz-infused House music as well as bringing his very own twist on 90s influenced deep house thanks to his massive kick drums and sophisticated pads.

Soundway Records present a special summer tribute double a-side 12" with two tracks from African musicians that both passed away within a couple of months of each other at the end of 2013 / start of 2014. Both tracks are perfect smooth summer tropical DJ fodder for the dancefloor.

On the first side South African singer Shaluza Max's massive Mashkandi / house anthem from 2002 gets a first release on vinyl. This track was a huge hit in South Africa and around the world on its release. With a soaring Zulu vocal and big sound it's a fitting reminder of a very talented musician who worked as a very well respected producer, composer and arranger who died tragically young at the age of 47 in January of 2014.

On the flip we drop a fairly unknown track from the mid 1980s from one of the biggest names in African music, Tabu Ley Rochereau. With a kind of almost balearic proto-house congolese pop cut with drum machines, and trademark sweet congo horn section, Hafi Deo is a beautiful track that fell into obscurity by perhaps being too smooth for the world music crowd in the mid 80s. Tabu Ley passed away in November 2013 in his late 70s with over 250 albums and 3000 songs to his name. A true pioneer of the congolese soukous sound, he was also one of the most influential African musicians of his generation.

This EP is an excerpt from one of my live sessions performed with modular synthesizer and samples provided by Field Recordings. I'm focusing my attention to the sound design and mixing, evolving tracks structure.
'Instead that Obscene' is the second vinyl release on Syncretism, this includes three massive original tracks inspired by post-apocalyptic and sci-fi environments, experimenting brilliant frequencies and psychedelic melodies with a remix distinguished from break drums and shocking scenarios. Special thanks to Simon for his contribution.
Nemrac shows his elettronic music concept in a way that goes beyond the categorization of genre, leaving the listener free to perceive the essence of the EP.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

Born Marian Himburg, Causa has been on the rise for several years now, with a tight and impressive discography on labels including Crucial Recordings, Infernal Sounds, and J:Kenzo's Artikal Music UK. Known for carefully focused cuts that marry dub sensibilities with dubstep weight, his debut for ZamZam is exactly what you'd hope: heavy 140 wares for deep dances.

'Space Dub' is an orbiting station of decaying delays and insistent bleeps that resolve into an absolutely massive riddim that causes pure murderation on the floor. Machine sounds and lasers spar over dread, lurching bass, while thick snares cut through the reverb haze to reveal the cold, starry cosmos beyond.
'Concrete Dub' works with a similarly industrial sound palette in the service of a minimalist, skanking steppers that drives hard into the heart of sound system. Disembodied voices, growling-deep horn stabs, a single piercing flute note, and a myriad of other sonic signifiers emerge and retreat, as if being pulled under by the unrelenting force of the primordial sub & kick attack. You've been warned!

In folklore, the witching hour or devil's hour is a time of night associated with supernatural events. Creatures such as witches, demons and ghosts are thought to appear and to be at their most powerful and magic is thought to be most effective at this time.

It is also the time when we are at Underground parties, this is considered the main time of the party before it tapers off into the ethereal realm of translucent soundscapes and marionette dance moves. This is when we feast on sound intoxication and our parallel daywalker skins are shed into ancient dances and rites of sacred drums.

The witching Hour takes our souls back to our ancient pagan rituals of music and dance till the cleansing of dawn, this is where revelations happen and where groups of like minded people form a coven of sorts and bond in non verbal communications thru the expression of movement.

This is a new label project from Jay Tripwire and TJ Mc Au, they will be presenting underground minimal sounds specifically designed for the dancefloor and for the DJ.

This EP features Creepshow and Klangtone. Creepshow is a dark bassy roller with an eerie underground atmosphere that holds the groove but it also designed for mixing and layering. Klangtone features a percussive groove, voices from the Tikuna rainforest tribe and a haunting modular flute line with a massive sub bass that is sure to rattle bassbins. This is classic Tripwire with modern production but still keeping the his roots of his trademark sound.