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Ella is the most celebrated of divas, and she dominated the jazz scene for over fifty years, from her first hit A-Tisket, A-Tasket in 1938 to her gradual retirement from the stage in 1989 due to illness. She left her signature on every jazz universe to which she contributed.

The Essential Works 1956-1959 throw light on her talents as a performer of the greatest standards, with songs written by Cole Porter, Irving Berlin, George Gershwin and Rodgers & Hart. Ella succeeded in making popular melodies her own, most often songs taken from musicals that she transformed into as many pearls of vocal jazz.

The four sides of this album bring together the indispensable inner soul of Ella Fitzgerald's recorded work.

First Floor is a japanese music lover and producer who got noticed by his release on swedish elite label Local Talk in 2018. For his second vinyl release, he digging deep again and shows some well crafted House tunes with some dope beats and great melodies. Topping things off there are 2 remixes: fellow japanese wizard Kez YM (Faces Recods, City Fly, 4Lux) adds some club flavour while new hot shot Simon Hinter (Freerange) stays deep and funky. Some hot tunes for a hot summer!

You cannot say Nu Groove without saying Burrell. The seminal New York House label that existed from 1988 until 1992 was at the helm of a sound that was as much traditional as it was transitional. Since the closure of the Paradise Garage in 1987 and before the „NYC House sound“ was well-defined and fenced, Nu Groove was a kaleidoscope and an amalgamation of everything that informed it until then: uptempo r&b, reggae, dub, disco, freestyle, techno, jazz, and the sound that was embossed by Larry Heard in Chicago that was so well picked up in the Big Apple, you name it. Ronald and Rheji Burrell provided its basis, first floor and roof. But that story has already been told by our dear friends from Rush Hour, including its most important chapters. But we are going to tell a new one.

Rheji Burrell presents N.Y. House’N Authority & The Utopia Project. Twelve tracks split over two EPs on Running Back. Named „Out of Body Experience“ and „The ’V’EP“, it features all new music that feels like modern garments cut out of a classic cloth. Almost as if the Nu Groove would have never stopped. And that it is - at the risk of self-praise - all that old or new fans and also we could hope for. Two EPs full of deep-that-doesn’t rhyme-with-sleep house music, has simple, yet clever arrangements, features jazzy sounds, but snappy drums, merry melodies and glossy grooves. An overall joy to listen or dance to. The difference in both EPs is for the Burrell-die-hards and Nu-Groove-scientists to decide.

Stix Records, a sub-label of Favorite Recordings, is back with some heavy dub cuts from label regular Mato.

Starting his reggae production career in 2006, Thomas Blanchot aka Mato has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions. Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from R. Strauss’ "Also Sprach Zarathustra" and Herbie Hancock’s "Maiden Voyage ". It’s a great sensation to hear these melodies turned into superbly crafted Dub monsters. As Mato once said, "Play it loud and burn a chalice!"

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

"WOLF Music" offer up something a little different to their usual tip, enlisting the warm dusty reverberations of four-piece, jazz-not-jazz collective Velour for a 7" of hazy, genre traversing rhythms. Alongside being producer for the Velour project, long-standing member of the WOLF pack Mr. Fries gives his own distinctive house touch to the flip side remix.

Perfectly capturing the new school of jazz, Essen-based Velour crisscross genres drawing on elements from each yet anchoring their roots in the richness of jazz’s deft melodies and percussive touches. Head-nodding down the open road, ‘Pose’ is that undeniably soulful, first swig of summer many tracks strive to be. Morphing into a woozy affair as the sun sets midway through, Velour’s songwriting talent well outstrips their years. Throw WOLF pack member Mr. Fries into the mix, kneading in his signature production style and the freshly baked result straddles the intersection between jazz, broken beat, house and soul.

Fries then takes on remix duties for the flip, maintaining that dusty demeanour yet going for a full frontal Moodymann-esque house interpretation. The smokey jazz bar sax, background hustle and weighty beat make for a summertime heater served straight from
the grill, garnished just right with Mr. Fries own vocals over the top.

The third vinyl-only release on Form&Terra Records is all about "Get together". Four artists gather on the 12 inch record to undertake a journey into electronic music together. First, Peter F. Spiess saddles his shimmering "Celluloid Pony" with minimal and techno vibes and rides high into the air via rough sound structures and flashing melodies. There Cie built his "Wolkenburg" and floats with it groovy and with great attention to detail into new layers of the atmosphere. On the B side, "Numbers Talk" by Prakash from Gran Canaria enchants with a wonderful groove that is as deep and blue as his home in the Atlantic Ocean. Markus Funke ushers in the final trip back to Cologne with his dubby techno monster "Levissima". Four wonderful tracks for all discoverer who have a thirst for adventure on the dance floor.

"Lost Ark Music" proudly present to you another labour of passion "Praying for the Angels" by Pura Vida. 'The heart of the Last Ark' is beating on the riddim of the drums" ... Play it loud!

"Crawling" is about Puraman's personal struggle in life (...) trying to blend a stepping, jazzy reggae groove with some psychedelic stuff, Pieter De Naegel & Mathieu Vilain provide some "Last Ark Fyah Horns". "Song to Bob" is Puraman's tribute to Bob Marley, with a haunting Bassline provide by Aston "Familyman" Barrett, Orginal Wailer (...) His son Aston Barrett Junior hits the drums like Lightening!

"When the right time come" was recorded in an oldschool fashion, Recording the riddim in one take (...) Puraman on Vocals and Guitar, Boris Perck on the bass, Xan Albrecht on the drums, Wouter Rosseel on Lead Guitar. Bos Debusscher provides a wicked synthline!
Are you ready?

"Pretty Stranger I wrote this song for you... You shurely look like danger but that's what I like about you". Pura Vida goes Psychedelic Rock (...) "Les Eaux Sauvages" is a Love-Song with the Wonderfull voice of Nina "Vitalia" Schelfthout!

"O sopro de Inae" features the warm voice of Alessandra De Queiroz...Straight from Brazil she came to the Mare Altar forest under the guidance of Maarten Rosa in search for the "Arka Perdida".
This song has Portugese Lyrics, praying for the Spirits of Iemanja and Inae (...) The Spirits of the Ocean! "Find a way Home" is a Soultune features Alessandra De Queiroz!

The Title Track "Praying for the Angels" is another combination of Puraman & Alessandra's voice. In a Sixties Psychedelic Spirit (...) Singing about the Lost Souls dwelling the streets of the Ancient City! It was recorded on Puraman's Birthday (...)

"And the lights of the city, drive them crazy. And there's nowhere to run (...) And they're praying, hear them praying for the Angels...".

"Blessings from the Last Ark" features the amazing voices of Roydel "Ashanti Roy" Johnson, Derrick "Watty" Burnett & Kenroy "Tallash" Fyffe from 'The Congos'. Ashanti Roy provides the Bassline and Percussion. Watty & Tallash provide extra magic percussion. Puraman on Vocals, Melodica & Guitar. Pieter De Naegel & Mathieu Vilain play humble and bright on this Deep Roots Tune. Blessings from the Ark. Beyond Time & Space (...)

"Ancestor Spirit Dance" is an Afrobeat inspired tune features the voice of Puraman's Great-Grand-Mother Mathilde Spruytte, who
was a local folk singer.

Pleamar(Spanish for high tide) is the first collaborative release between Chancha Vía Circuito and El Búho for Wonderwheel Recordings, and stands as one of the most refreshing EP's within the Latin American downtempo electronic genre.

On this release the vision of both artists is united as one. This unity is reflected through "Real Fun, Wow!"'s artwork, presenting an image of a centered eye, reminiscent of historic drawings from tide studies. The representation of Earth, with a central circle surrounded by two ellipsoids that rotate and align in perfect harmony, mirrors the meeting of the two producers, the moment when the seawater reaches its apex andPleamaroccurs.

Like a metamorphosis that - without knowing it - we had been waiting a long time for, the EP reconstructs Pedro and Robin's encounters over the years. It transports us into the history of migrant sounds, the salvaged sound of floral jungles, high mountain forests and the ocean deep. We hear a sonic beauty filled out by deep personal stories - four humble and honest tracks that demonstrate the fusion of these artists and both them and the genre into new territory.

Starting with "Oruga"'s deep ambience, dub atmospheres and space echo reverberations, the album follows this line of reverberated rhythms and relaxed percussion lines throughout, carrying us along with a pulsating, deep, natural tempo. "El Mago Georges", perhaps the Pleamar'sjewel, is bursting with life - impactful depth and perfectly tuned melodies yet tribal and delicate at the same time. "Murga del Viento'' recalls another meeting of these two minds: El Búho's much-loved remix of "Sueño en Paraguay" a beautiful track from Chancha Vía Circuito ("Amansará" 2014). Here the whistle meets the owl from the previous track and the two birds take us a step forward in this collaboration with chords superimposed on a haunting bass. The release ends with "Una Pulgada de Silencio", a track of cosmic synthesizers, trickling water samples and the voice of argentine folk singer Gus Goncalves. Through Pleamar we come to find a much needed peace and clarity hidden beneath the rolling waves, a deep-sound escape to get lost in.

Steel drum cover of Grace Jones. Steel drum cover of Erykah Badu. Third full length album coming in 2021. Bacao Rhythm & Steel Band is back with another crushing two-sider that is guaranteed to set dancefloors on fire and get heads nodding around the globe. The mysterious steel pan outfit hailing from Hamburg, Germany has become a staple in DJ sets from Europe to Japan, from the US to Brasil, and anywhere else these tunes have found their way to speakers. They have released a slew of classic 7”s and two critically acclaimed full length albums. With that they have set a high bar for themselves, one clearly they intend on pushing higher with this new offering. Side A is BRSB’s take on Grace Jones’ nightclub classic “My Jamaican Guy”. They take the tune to a new height from the first beat, laying down an infectious groove that will get people out of their seats immediately. Heavy duty drums and bass shake the speakers through the intro then the pans reveal what they are covering as they play the instantly recognizable top line of the original. Rhythm guitar, heavily echoed percussion hits, and the different pan sets all combine to make this yet another instant classic from Bacao. BRSB has received a lot of praise for their choices of covers. Occasionally reworking hits, but, most notably pulling the album cut gems from artists typically more championed by the underground. Well...here they go again, covering Erykah Badu’s homage to the late great J Dilla “The Healer”. This is the type of thing to make Spice Adams jump on his kitchen counter and scream. From the instant this comes on, necks will be snapping and faces will scrunch up as they take the original beat produced by Madlib and give it a run for its money. Shaking subwoofers with the eerie tremolo bass they replay E. Badu’s vocal melodies on the pans adding their own flourishes. Glockenspiel plays the downbeat and a clap like thunder keeps the two-step swaying, all coming together to make this another must have two-sider from Bacao Rhythm & Steel Band

7"
Limited to 300 handmade copies!
We only knew Pop's (Steven) singing voice as a whistle. He whistled while he worked, and he worked all the time. But not even a whistle accompanied him on the guitar. A woodworker by day, he brought his craftsmanship home, softly picking his patient melodies. Those few tunes were played over and over again, becoming smooth and refined as a carefully finished armoire.
It wasn't until Christmas 2008 that we really heard him sing. Our mother pulled out an old cassette tape labeled Steve at Marco's, a brief recording session from 1979. The first thing we heard was the song. The only song. Blue. A thick delay over the entire mix told us he was shy even back then. But then came that voice, which, underneath the wash, wasn't shy at all.
Blue, and the stream of short instrumentals following, seemed a rare capture at the heart of our origin with music. And as we shared these recordings with friends, we soon realized it wasn't just us who found them so warm and beautiful.
A proper closet musician, Pop would never share this music on his own accord, so we've taken the liberty of doing it for him. - Heather & Peter Broderick, August 2011

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Kumar, ex-Raging Fyah lead singer, met Fruits Records crew back in 2016, when he invited them to play with I Kong at his Wickie Wackie festival in Bull Bay, Jamaica. From then, the musical friendship never stopped, doing different types of collaboration over the years. His unique voice tone, breathe-taking vocal abilities and songwriting skills make Kumar one of the greatest singers of his generation, as his nomination at the Grammy awards 2016 with Raging Fyah can testify. "Message In Your Radio” brings a different taste to Fruits Record's catalog, noticeably more modern than the previous releases. Kumar's melancholic melodies enhance this powerful riddim played by The 18th Parallel with conscious lyrics: Message in the music is a must, today more than ever. Anthem for radio stations!

The long awaited third album from much loved vintage synth maestros Billy Bainbridge and Mike Johnston, finally finds its home on Ghost Box Records. This is unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology.

Plone are very much part of Ghost Box’s DNA. They were a central part of the 90s retro-futuristic scene in Birmingham that included Broadcast and Pram and to which the label has always had strong ties through graphic designer and co-manager, Julian House. They are also cited by the label’s other boss, Jim Jupp, as a major influence on his work as Belbury Poly.

The band was formed as a three-piece in the mid-90s and their debut single, Press a Key, was championed by John Peel. The first album, For Beginner Piano, was released on Warp Records in 1999. Their warm, witty and unfunky music stood out from the crowd, almost in defiance of the moody and masculine post-rave electronica of their contemporaries.

A selection of bootlegged demos from the early 00s was rumoured to be the follow up album, but it never materialised. After that Billy went on to tour with Broadcast and later formed Seeland with another former band member Tim Felton (also of Ghost Box’s Hintermass). Meanwhile Mike formed the ZX Spectrum Orchestra, released solo singles as Mike in Mono and was a member of The Modified Toy Orchestra.

Twenty years on and Plone have reconvened as a duo with a third album, Puzzlewood. It’s compiled from material recorded at various points since the “lost album”, right up to the present day.

Interstellar digital dancehall with stunning synth, superb vocal by Robert Ffrench in extended mix & mad style by obscure DJ Shortie Ranks. Recorded at Creative Sound Studio (Kingston, JA) in 1985.
"On “I Am Wondering” – a lovers of sorts – Ffrench is Dennis Brown in the high notes, and Gregory Isaacs in the song`s playboy sentiments. A guitar gently wah-wahs, while the synths do a giddy glissando. Midway through this discomix the bass becomes boss – throwing everything else – chopped piano chords and all – into echo. Then it`s rewind for the DJ cut – a brag and boast toast from Shortie Ranks – recounting his triumphs at legendary Kingston reggae venue, Skateland”. (Ban Ban Ton Ton - April, 21 of 2020) Robert French grew up in central Kingston and attended Kingston College. He recorded his first singles in 1979, at the age of 17. He achieved success in 1984 with his performances at the Festival Song Contest and the Reggae Sunsplash festival. He had a combination hit with deejay Clement Irie with "Bun & Cheese", and his first two albums were released in 1985. He had another hit in 1989 with "Modern Girl", a collaboration with
Courtney Melody. In the mid-1990s he relocated to New York City, where he teamed up with rapper Heavy D, with whom he had a hit with "More Love", with an album following on Ras Records, featuring collaboration with several artists including Lady G and General Degree. He has since returned to Jamaica, where he runs the
Ffrench record label and distribution company. He released the album Yesterday and Today in 2001, collecting many of his earlier singles. After a period of inactivity as a recording artist, he returned in 2009 with the single "I Do". As a producer he has worked with artists such as Dennis Brown, Buju Banton (he produced Buju's first single
"Ruler" on Stamina riddim), Beres Hammond, George Nooks, Luciano, Jah Cure, Yami Bolo and Sizzla to name a few. Robert French was the cosin of the late great Pat Kelly. As a french label, big fan from Ffrench productions, i'm very proud and happy to start a collaboration with Robert Ffrench, the most french jamaican. Stay tuned for many many more.

New fresh release on Rye Records by The Robinson. The 3
tracks' on this record are each a perfect representation of the
different facets of the duo: Soulful, self-reflective and pulsating.
Together the decisive sounds accompany melodies that take
you on a journey far away...

On his third album as Trickfinger, John Frusciante makes the jump from Acid Test to its leftfield sub-label, Avenue 66, to unleash the full scope of his vision. On She Smiles Because She Presses The Button, the legendary, LA-based cult figure, presents his most diverse yet cohesive album to date.



Frusciante has the melodic and programming chops to jump from style to style while sounding only like himself. "Amb" is the welcome middle-ground between Balearic and IDM while "Brise” with its quick syncopations and rhythmic groove provide a contrasting fabric. Elsewhere, JF caroms through electro and pastoral, "intelligent" ambient. The common thread through this quixotic journey are his trademark, timeless melodies.



For years now, Frusciante has immersed himself in machines, learning tracker programs, synths and drum machines inside and out, applying the same, tireless approach he's exhibited throughout his career. On She Smiles Because She Presses The Button, this period of intense study leads intense creative liberation.

You cannot say Nu Groove without saying Burrell. The seminal New York House label that existed from 1988 until 1992 was at the helm of a sound that was as much traditional as it was transitional. Since the closure of the Paradise Garage in 1987 and before the „NYC House sound“ was well-defined and fenced, Nu Groove was a kaleidoscope and an amalgamation of everything that informed it until then: uptempo r&b, reggae, dub, disco, freestyle, techno, jazz, and the sound that was embossed by Larry Heard in Chicago that was so well picked up in the Big Apple, you name it. Ronald and Rheji Burrell provided its basis, first floor and roof. But that story has already been told by our dear friends from Rush Hour, including its most important chapters. But we are going to tell a new one.

Rheji Burrell presents N.Y. House’N Authority & The Utopia Project. Twelve tracks split over two EPs on Running Back. Named „Out of Body Experience“ and „The ’V’EP“, it features all new music that feels like modern garments cut out of a classic cloth. Almost as if the Nu Groove would have never stopped. And that it is - at the risk of self-praise - all that old or new fans and also we could hope for. Two EPs full of deep-that-doesn’t rhyme-with-sleep house music, has simple, yet clever arrangements, features jazzy sounds, but snappy drums, merry melodies and glossy grooves. An overall joy to listen or dance to. The difference in both EPs is for the Burrell-die-hards and Nu-Groove-scientists to decide.

Debüt-EP des Londoner Duos Jockstrap (Georgia Ellery & Taylor Skye) auf Warp. Jockstraps Mixtur aus harten Dubstep/Industrial-Beats, klassischer Komposition und verdrehten, zum Teil perversen Fantasy-Erzählungen begeisterte die Fachmedien (Dazed, Pitchfork, BBC 6Music, The Quietus, The Face, The Guardian) bereits bei ihrem Einstand, der digitalen "Love Is The Key To The City" EP (2018, Kaya Kaya Records), woraufhin es Lobeshymnen hagelte und Warp Records das Duo vom Fleck weg signte. Die beiden Künstler kollaborierten einzeln und zusammen bereits mit Underworld, Dean Blunt, Injury Reserve und Damon Albarn's Africa Express, zudem spielte Georgia Ellery in dem mehrfach prämierten, britischen Film "BAIT".

- "My favourite avant-garde situationists." - Mary Anne Hobbs (BBC 6Music)
- "One of my favourite bands." - Matt Wilkinson (Beats1)
- "Jockstrap are giving classical romance a surreal twist." - The Face
- "Melodiously sweet and sophisticated yet tempered by bursts of naivety and caustically fucked up-ness." - The Quietus
- "I don’t know what kind of music Jockstrap are making right now, but I like it." - The Fader

2x12"

since long, chilean/swiss producer and dj luciano is a prominent figure in the global electron-ic club music circle. already from a young age on he was exposed to music profoundly, as his father worked as a jukebox repairman and possessed a large record collection.

when he was twelve, his mother gifted him a guitar, that turned luciano shortly into a mem-ber of a school punk rock band. soon after, his passion for electronic music rose. infected by detroit techno and engaged by close friends like producer dandy jack, he started to play rec-ords in local santiago de chile dance clubs and became involved in the minimal techno scene around friends like ricardo villalobos.

when luciano moved back from chile to switzerland in 2000, he established a residency at weetamix club in geneva, started releasing his own productions on labels like mental groove and joining the cocoon team in ibiza to play at the famous monday night at club amnesia.

since then he is a regular on the balearic island, holding residencies at clubs like dc10 or, with his “vagabundos” serial, at ushuaïa. besides playing around the globe with the likes of carl craig, richie hawtin or loco dice, he is releasing groundbreaking minimal techno and house on his label cadenza since 2003, featuring music by artists like nsi, ricardo villalobos, pikaya, reboot, maayan nidam and himself.

his very own music, so far issued on three albums and countless eps, was always ambiguous. there is his club leaning creativity that can dance slightly into pop spheres while never for-getting the power of precise sliced rhythms and subtle bass sensations.

and then there is a calmer luciano, that displays his love for “music to listen at home, done for a spiritual travel, an inner universe and a moment paralyzed in ether”, as he describes it.

on his first ever mule musiq album release “luci neu house”, luciano now delivers meditative journey music full of repetitive patterns that slowly playing tricks on the listeners subcon-sciousness. “i love music that has a dimension more than music designed for the radio or tv format. mu-sic, that is designed to bring you a higher level of energy and creativity.

so, there is no pretentious things in it ... more just sounds and dimension that will lead your head into the fall of jupiter” he reveals about the one-hour long composition “luci neu house”, whose esoteric deepness reminds on the intensely meditative class of his older pro-ductions like “behind my soul” from 2010.

an epic tune cut on vinyl into four 15-minute long pieces, who shift slowly, almost unper-ceived, whilst absorbing the mind of close observers into a micro-sliced world of moving gen-tleness.

maelstrom magnetism against the gravity of time, that also can be found on the additional mule musiq 257 12inch, which functions as a soothing footnote to luciano’s album.

the almost 13 minutes long trip “flags of himalaya” opens with restful percussions that unhur-riedly start to dance with soft string, piano and horn melodies. on the opposite, the nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

a perfect tune for slow dance sensations and endless sunset seaside drives. at a total length of almost 90 minutes, all new mule musiq music composed by luciano distributes a mesmer-izing healing spirit, that grounds organically, even if it is totally rooted in the digital, soft-ware driven world of composing music. “check your buddha” tunes, that somehow sound novel during each new listening circle.

When people talk about Italian dance music, they tend to focus on Rome and Napoli rather than Bologna. Yet the city in Northern Italy not only played a key role in the development of “Italo-house” in the late 1980s and early ‘90s, but also boasts a vibrant contemporary scene. To prove the point, Boogie Café has put together “Bologna On The Move”, a four-track selection of sizzling hot cuts from some of the city’s latest wave of deep and soulful dance music talents.

Leading the charge is Sam Ruffillo, a producer who first appeared on Boogie Café last year following an impressive 2018 debut on Irma Dance floor. He kicks off proceedings with the infectious “U Make Me Sing”, a heavyweight slab of rolling breakbeat goodness rich in tight vocal samples, jazzy guitar licks and wonderfully warm and weighty bass.

Later in the EP Ruffilo returns to action alongside Brine, another rising star with links to legendary Italian label Irma. “Request Line” is a fine slab of chunky, U.S garage-influenced deep house that sees the duo pepper swinging drums and toasty bass with heady organ stabs, cut-up vocal samples and trippy electronics.

Fittingly, Brine gets a chance to showcase his skills as a solo producer via “Star Chaser”, a looser and jazzier house excursion that doffs a cap to the glory years of jazz-funk whilst championing rich deep house synth riffs, jaunty bass and more spaced-out vocal snippets.

You’ll hear a similar jazz-funk influence at the heart of the EP’s only contribution from Red Rooster founder and former House of Disco artist D’Arabia. The most experienced of the three artists on show, he offers up “Straight Outta Fire”, a bouncy, deep and percussive affair that wraps drowsy male vocals, sustained chords and harmonica samples around disco-influenced house beats and what may well be the squelchiest bassline ever to emerge from Bologna.


DJ Support:

Bedmo Disco, Lord leopard, Melon Bomb, Dave Harvey, Haze City, Aroop Roy, Lay Far , Danvers, Kassian, Dave Jarvis,
Jimmy The Twin & Cengiz.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Who said that all Nigerian afrobeat from the 70s was dark and though provoking with a melancholic edge despite the ongoing powerful grooves and a more or less political message denouncing the the methods of the country’s leaders to increase their own wealth and power while the simple people suffer. Well, this 1978 album by bandleader Thony Shorby Nyenwi proves this idea wrong. What we have here is a sacredly rare gem, fetching 300 € for a copy in playable condition. A crown jewel of Nigerian afrobeat and funk music that is an utter joy listening to. Thony Nyenwi's music is a monument of the genre carved in rock.

* For fans of Fela Kuti, Ofege, Assagai, The Funkees, Mixed Grill, Bob Marley
* Reissue of a long lost afro beat and Nigerian funk classic from 1978
* A massive collection of captivating grooves and haunting melodies.

As we travel further along the murky 2020 time-continuum we are pleased to deliver the next release for Pure Space Recordings. This time from one of Melbourne’s most acclaimed producers, Rings Around Saturn.

Rings Around Saturn delivers us with two club focussed tracks that skilfully toe the line between electro and bass music.

On the A-sde you will find ‘Grip’, a heavy hitter that’s weight comes from the deep sub-rhythms and hefty drum programming. The melodic, acid-infused arpeggios that fill the tracks body seemingly pull you further and further off the ground until finally the suspension is released through a glistening breakdown.

On the flip you will find ‘Subterranean Electro’, a track titled aptly to describe its heady electroism. Here deep bass is met with skittering pads, and tension fuelled melodies whilst a constant rhythm that feeds the tracks subterranean ecosystem. The gritty melody is fast and jittery keeping you on your toes whilst you complete your journey.

A1 was first played at Inner Varnika Festival 2019. B1 was included in Andy Garvey’s RA Podcast.

Melodize builds on a fine first release with a new one from Beartrax that comes with big remixes from Clarian and Lauer. Having worked with labels such as Lost Diaries and Motek and seeing numerous releases appear in the Beatport charts, American artist Beartrax is a man in form right now.

Ethereal is a slick melodic house cut with far sighted chords and rolling drums. It's about getting lost in the majesty of the musical colour and allowing the emotions to wash over you. Clarian then remixes after many years making a name for his synth heavy sounds thanks to releases on the likes of Kompakt and Anjunadeep and here comes correct once more. His offering is deep and melodic, with a slick cosmic lead over shuffling, icy beats taking you away.

Lauer then closes out with a more edgy remix that has big synth chords riding up and down the scale and plenty of retro feels to the beats.

Legendary Detroit Techno collective, Scan 7's 'Burdens Down' release from 2017 was a true testament to their brilliant ability to merge the soulful house textures with the analogue mechanics. The addition of Maurice Jackson's outstanding vocal stylings topped off the original with a perfect human element. Following the global success of the original version, Elypsia Records has enlisted some of the scene's top tastemakers to deliver a remix package worthy of the original, featuring that same calculated combination of soul and steel.

Leaders of the Parisian underground, DJ Deep & Roman Poncet, provide the first remix which is all about building incredible tension. A tightly squeezed kick drum, short synth chops and cleverly placed vocal samples drive the groove. As the track grows, additional hats and synths arrive, leading up to a quick break before all the floor-rocking energy bursts free. Big!

Dutch Techno legend Orlando Voorn steps up next for his first of two remixes, this one leaning towards a very House-centric shuffle with warm, friendly key stabs and the full use of Maurice's vocals. A truly joyful work of dance music magic here, with a relentless rhythmic drive keeping the party happening at full force.

Underground Resistance's very own Mark Flash takes the remix responsibilities for the B1 with his gorgeous synth-saturated rework of the original. An energetic and stomping kick drum powers perfectly alongside future-facing melodies which shine brightly on top of the tune. This one is guaranteed to serve as an earworm for days after the party has ended.

Rounding out the EP is the 2nd remix from Orlando Voorn, this time peering into the underground with a stripped back jackin' track utilizing a looped key melody on top of carefully placed vocal samples and claps. Some unexpected synths appear at the second half of the tune, putting a bit of new-age funk into the party stomper.

After dropping his first solo release at the end of 2019, Naranja is back with his second EP. And this time, he embraces even more the italo-disco and EBM influences that were showing through his first project. The a-side features some dark and kicked italo-disco riffs, acid basslines and deep layered synths melodies, where the b-side explores broader sounds, from rave inspired synths to unrestrained braindance beats. In this second effort, Naranja offers to dive in a musical journey, drifting between melancholic synths, 80s inspired basslines, deep pads and energetic drum beats.

After a long hiatus, Tokyo-based french producer Dela comes back with Électrique, a new project paying tribute to hip-hop legends André 3000 and Big Boi, known together as OutKast. This new 7inch record includes three tracks of Électrique : Yosky Wosky Pisky Wisky, Dimanche Matin, and the bonus track Cergy.

Known for his laid-back, jazz influenced, dreamy rap instrumentals, Dela introduced his music to the world with his Atmosphere Airlines mixtapes and his albums Changes Of Atmosphere (2008) and Translation Lost (2011). A student of Q-Tip, Pete Rock and J-Dilla amongst others, Dela’s work foreshadowed today’s increasively popular lofi hip-hop / chillhop movement.

Side A features Yosky Wosky Pisky Wisky, a remix of Stankonia’s classic Humble Mumble, featuring Eykah Badu. Dela changes the mood of the original track, mixing samples and live instrumentation together to turn a salsa-breakbeat groove into a melody infused otherworldly super-funk.

On side B, Dela remixes Sole Sunday, a Goodie Mob featuring Outkast track, edited to feature only the two ATLiens and renamed Dimanche Matin. The beat is reminiscent of his early work, layering boom bap drums over a haunting saxophone melody. Also on side B, the bonus cut Cergy turns a Brazilian MPB sample into an ode to Dela’s hometown with the help of live drums, bass, electric keyboards and a few of his friends singing.

We are very proud to present you the new Poussez Music PO 101 featuring the new EP by DJ Yellow aka Alain Ho , entitled « Marcel & Christiane ». It's been 3 years since the last DJ Yellow's release. DJ yellow is coming back with this 3 tracks EP for Poussez Music. This new EP is reflecting and thus exploring many of his sides, from late night techno to melodic breakbeat ,from moody sounds deep tech scapes. This ep will be released around spring on vinyl & digital.

Christoph de Babalon and Mark join forces for A Colourful Storm and contend for the collaboration of the year. Seductively rugged and ruffneck breaks by two of Berlin's most unique, complete with an out-of-nowhere moment of isolationist woodwind introspection. Perfect pairing and breakthrough release from a label on top of

Exciting new producer Yves Tomas releases on Rekids with ‘Pilot EP’ this May - a bold and versatile debut release exhibiting the artist’s broad range of influences.

Hailing from London but with roots in Bristol, Yves Tomas is a producer, vocalist and DJ brought up in the centre of UK club music. Since experimenting with music through his childhood and early teens he’s gone on to become an engineer, working in studios alongside some of the biggest names in grime and pop music. This has led to him developing his own unique style of electronic music as a reactionary expression to working in the meat grinder culture of mainstream music. He now joins Radio Slave
Rekids - a label known and respected for discovering many luminary figures in electronic music.

With its otherworldly melody and echoing effects, ‘Braindead’ is a downtempo track that remains beatless until the halfway mark, moving onto the beautifully arranged ‘MA1’ with its reverb-drenched breaks, quivering synths, and ever-evolving chopped and looped vocals. ‘River’ then incorporates elements of grime and jungle courtesy of its lively stabs, soulful chords and compelling rhythm built on punchy percussion. Taking things into a spiritual direction, Elephant & Snake’ meanders forward using
syncopated drums, washy chants and elevating organ keys before ‘Callout FM’ follows with its rattling snares, twisted arpeggios, and crystalline pads.

Nearing the end, ‘Pilot’ is a stripped-back affair with sporadic kicks, a fuzzy bassline, and vocoder vocals until digital bonus track ‘Birds Of The Barbican’ ties everything together by generating an uplifting atmosphere destined to elevate revellers for many years to come.

Ill considered are a group of musicians interacting with each other to create freely improvised music, based loosely around simple pre-written themes or composed on the spot. Deep grooves and plaintive melodies ranging from whispered chants to monstrous climaxes, the group react to the mood of the audience and the sonics of the room to create music that is unique to the moment. ILL CONSIDERED 8 was recorded during the band's European tour in the fall of 2018.

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.

Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Inspired by Gibson's 'Neuromancer', Patrick Holland dives deep into the ambivalent future with Simstim. Also known for work as Project Pablo, Simstim uses familiar motifs with a more personalized touch. Pointillist melodies lay in a wash of noise artifacts, as pulsating rhythms fray subtly falling between sections, all delicately glued together with blissful harmonies. For the dancer and/or headphone listener alike.

Part inspired by the prose of his favourite author James Baldwin, South Brooklyn's Korre 's experience of being a black man in America forms an integral part of his work, even if it's largely instrumental. "I always make sure my music has elements of pain, beauty, and darkness," says Korre in his bio. That vibe is certainly felt across his stunning debut EP for Utrecht's 030303 Records. 'End of Time' is a deep, dystopian piece of club music, as much suited for the floor as it is for the introverted mind. With virtually no intro, the listener gets sucked into the intenseness of the track right away. 'Crimson' is equally dark, filled with spooky vocal snippets and washed out acid sounds. 'Don't Wanna Wait' is a heartfelt ambient spacer, not unlike the eeriest work of Burial. 'Silver Exo' then is probably the best track on the record even if it's hard to pick a favourite. Korr? slowly brings the dancefloor back with this beautifully crafted builder, again filled with abstract vocal snippets. Closing this beast of a debut record is 'St Blues', consisting of a male monologue, captivating droney melodies and acid bubbles in the background. It's the conclusion of the first chapter by this artist we will no doubt hear more of in the future.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester