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Initially releasing on Oscilla Sound, then following up with records on Intramuros and FTD, E-Unity gained wider recognition when Resident Advisor described "post-Livity techno with a dreamy twist, from this promising young Frenchman". His next release – on TEMƎT – saw him inaugurate the imprint with the ‘Duo Road’ EP – four tracks of electronic futurism, jerky rhythms and dubbed-out frequencies.

‘BBB<3’ is an LP of club ballads that echo his influences, ranging from hyper-pop, Latin music, the hardcore continuum and post-dubstep stylings, featuring heavy bass mutations, spacey synths and hybrid rhythmic compositions.

In an uncertain world, E-Unity takes the opposite approach to a lot of contemporary electronic music which is always faster, harder and somehow dystopian. Instead he offers a record filled with sensibility, love and positivity, fighting the evil forces with heart emojis and sub-reinforced sonic weapons.

E-Unity shows extraordinary musicality and eclecticism throughout his productions and DJ mixes. His b2b set with Simo Cell at Positive Education Festival and former monthly residency on Rinse France solidified his notoriety as an adventurous yet thoughtful selector.

TEMƎT was launched by Simo Cell with a mission to release cross-genre electronic music, placing focus on the French music scene, whilst developing collaboration across different artistic disciplines. Previous artists to release on the label are Lolito, Less-O, Second., elise, E-Unity and Simo Cell, plus additional contributions from Low Jack, Peverelist and Skee Mask for their mix cassette series.

RP Boo's essential first album, 2013's ‘Legacy’ caused a storm of acclaim worldwide as people finally started to piece together his true place in Footwork and the powerful legacy of his work as an innovator. In parallel with productions, his always on-point DJ sets have lit up festivals and clubs worldwide and continue to do so to this day, notably leading to him being named one of the ‘100 World’s Best DJs’ in a recent book by DJ Mag. Now on its 10th anniversary ‘Legacy Vol.2’ continues his story. Featuring tracks created between 2002 and 2007, this is a wonderous selection of material, some known, some unknown. The album kicks off with the dark and epic ‘Eraser’ created in September 2007, during a time RP was going to underground Footwork club War Zone on the west side of Chicago. The track was inspired by, and created to fuel, the “taunting words of intimidation” between dancers.” And now it makes for one intense album opener. Some cuts are inspired by everyday life – take for example 2005's ‘Pop Machine’, which was inspired by the time he was working at Speedway Oil Change who had a temperamental soda/pop machine. One day, a customer put money in the machine and nothing came out, so he continued to press the button, and for some reason RP found this funny so he went over to the machine and started pressing the buttons himself and everyone he touched started saying “Work!.” Inspired once he was back home in his studio he made ‘Pop Machine’ in tribute to the defunct machinery. When he came back to work the next day and played the track for all this co-workers it blew their minds and they also laughed with at how creative RP could get using things from his everyday life as inspiration. ‘Pop Machine’ also illustrates how RP’s Footwork uses repetition and minimalism as fuel. Years later RP Boo is still inspired by Foot Work – the art of dancing and working for dancers. He continues to shake up clubs and isn’t afraid to get out from behind the decks and drop some Foot himself. We’ll let the man himself have the final word - “What inspires me to keep going is seeing the people having an awesome time moving on the dance floor, as well as playing music that is a recognizable part of my life. I’m one with it.”

Sometimes, things "just happen". For months, we’d been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

We’d been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical.

Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They’d exploded onto the scene in a flurry of excitement before disappearing just as quickly.

There’s something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It’s one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here.

We don’t really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we’d stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that.

Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds. There’s something very satisfying about it, a perfect circle, if you will.

We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal - it just felt so right.

And then there’s the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums "Dare" and "Penthouse and Pavement". There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place.

In Sheffield, we do things differently, because that’s how we are built. away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

Caitlin Rose releases a special limited 7" Vinyl for Record Store Day 2023. The 500 unit Limited 'Cherry Red' Coloured 7" release features two exclusive tracks recorded during the sessions for Caitlin’s new critically acclaimed album 'CAZIMI'. New Track 'Johnny Velvet' and the demo version of 'Carried Away (Demo)’ will be available for fans for the first time as exclusive to this 7" release.

James Ellis Ford hat sich während seiner gesamten zwei Jahrzehnte währenden Karriere im Verborgenen gehalten. Der Komponist, Multiinstrumentalist, Produzent und Songwriter hat mit einigen der größten Namen der Musikbranche zusammengearbeitet, von den Arctic Monkeys über Depeche Mode, Foals, Gorillaz und Kylie Minogue bis zur Tourband von Simian Mobile Disco und The Last Shadow Puppets. In diesem Jahr steht er mit seinem ersten Soloalbum 'The Hum' im Mittelpunkt. Das Album ist eine ausufernde, genreübergreifende Ode an die Psychedelia, die sowohl zeitgenössisch als auch nostalgisch ist und komplett von James geschrieben, produziert und aufgeführt wurde. Auf der Bühne wird er von seiner vierköpfigen Band begleitet, um die Originalsongs neu zu interpretieren.

Already a multi award-winning and established artist, with a growing global reputation, South African artist Bokani Dyer presents his newest record ‘Radio Secheba’ - due for release on digital, CD & LP vinyl formats on 12th May 2023 via Brownswood Recordings.

This 15-track album continues Dyer’s creative journey of making rich and immersive music which places him amongst the new wave of South African jazz artists, including the likes of Siya Makuzeni and Nduduzo Makhathini.

‘Radio Sechaba’ provides an intimate view into South Africa’s multifaceted people - and an opportunity for global connection through music. The meaning behind ‘Sechaba’ in the album title is nation. The record hones into the related topics of nation-building and unity and this is no ordinary topic for Dyer, who was born into a Botswanan community in exile from apartheid. The title of this thought-provoking album echoes that of “Radio Freedom” - the voice in exile of the African National Congress.

Dyer’s career highlights include acclaim as a solo artist (including being named the Standard Bank Young Artist Award winner for Jazz in 2011) and with his trio (the Bokani Dyer trio’s Neo Native won the South African Music Award for Best Jazz Album in 2019). Bokani features on the opening track of the critically acclaimed Johannesburg scene jazz compilation, ‘Indaba Is’ - released in early 2021. Bokani played at the 2022 North Sea Jazz Festival in Rotterdam, Netherlands, was a part of the South African Songbook (2019) at the Lincoln Centre USA, London Jazz Festival (2015), headlined the Cape Town International Jazz Festival (2015) and held an artistic residency at the Bird’s Eye jazz club in Basel, Switzerland (2014).

Die Neuauflage des Debütalbums von Animal Collective mit neu gemasterten Audioaufnahmen und einem neuen Artwork von Abby und Dave Portner. 'Spirit They're Gone, Spirit They've Vanished' wurde ursprünglich im Jahr 2000 unter dem Namen Avey Tare & Panda Bear veröffentlicht, bevor der vollständige Bandname auf den Veröffentlichungen verwendet wurde.

Motörizer, das 19. Studioalbum von Motörhead, wurde ursprünglich am 26. August 2008 veröffentlicht und war das dritte Album der Band, das von Cameron Webb produziert wurde. Motörizer war das erste Album der Band, das in den USA auf Platz 82 der Charts einstieg;
auch in Deutschland erreichte es Platz 5. Die Leadsingle "Rock Out" wurde als offizieller Titelsong für WWE Unforgiven verwendet. BMG bringt das Album auf transparentem, blauem Vinyl und als Digipak wieder heraus.

The Motions were a Dutch beat explosion group and were founded by Rudy Bennett and Robbie van Leeuwen. The Motions were the first Nederbeat band to achieve chart success and released seven albums in their eight-year career. The 1969 album Electric Baby was the follow-up to the 1967 album Impressions Of Wonderful. This 13-track set includes “Freedom”, “Wedding Of The Hundred Brides”, “Eliza”, and “It's Alright” a.o.

The Supremes A’ Go-Go marked the
group’s first number one pop album. It is
presented here in its rarely heard Mono
mix, which according to many reviews has
more punch and immediacy than the Stereo
version. Various compilations had skimmed
the most familiar songs off of other Supremes’
albums, but the concept behind Supremes A’
Go-Go was to get the group to cover some of
the top hits of other (mostly Motown) acts. As
a result, every song on the album was familiar
in name, and only “You Can’t Hurry Love” was
culled for any hits packages. A number one
album on the pop and R&B charts, Supremes
A’ Go-Go also benefited from the fact that the
album didn’t include any pop standards or
slow ballads, just solid R&B dance numbers. It
was the first LP by an all-female group to reach
number-one on the Billboard 200 album charts
in the United States. The LP contains two of the
Supremes’ top ten Billboard Hot 100 singles:
the #9 hit “Love Is Like an Itching in My Heart”
and the #1 hit “You Can’t Hurry Love”. 180-
gram VIRGIN VINYL LIMITED EDITION.

Lele Sacchi & Asian Fake’s Stolen Goods Records return with the third instalment of Black Loops & Innocent Soul’s ‘High Cutz’ series, accompanied by a remix from Italian house legends Pastaboys.

After a debut compilation featuring the likes of Bawrut, Elisa Bee, Ruff Stuff & label head Lele Sacchi, Stolen Goods Records amassed a following of Dixon, Harvey, DJ Seinfeld, Dam Swindle & many more. The Italian imprint returns this December, dropping two tracks from deep house mainstays Black Loops & Innocent Soul. Black Loops trawls the depths of his record bag in revered clubs around the world while tallying up releases on labels such as Madhouse, Shall Not Fade and Freerange. Additionally, Strictly Street Sound label boss Innocent Soul has made a name for himself for his energetic deep house music.

Together, they join forces for their collaborative ‘High Cutz’ series, which has previously been released via Toy Tonics and Rough Limited. Robust beats form the backbone of ‘Believe In U’, a plucked bassline brings the funk and passionate vocals provide the soul. They warp its earworm bassline deep into the jacking zone, closing out the first in a series of EP’s on Stolen Goods Records featuring established artists and talented newcomers.

New Parisian label, Disques Messager, presents its first release and not the least. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which begins rather well, with the official reissue of these two stirring titles by Brazilian singer and composer Cristina Camargo.

Native of Rio De Janeiro, Cristina Camargo had quite a short career, releasing only 2 albums in 1980 and 1981, but still enough to collaborate with some of the best composers, musicians and producers at that time. Her first self-titled album was therefore produced by Robson Jorge & Lincoln Oliveti and recorded with some of the finest musicians.

“Moral Tem Hora” comes from this same LP and is a perfect example of the unique alchemy that emerged when the Disco and Boogie invaded the Brazilian music scene. A quite hard to find Boogie killer, composed by famous brothers, Marcos and Paulo Sérgio Valle.

On B side comes “Minas Do Rei Salomão”, a more chilled-out title extracted from Cristina’s 2nd album, Santa Maravilha. With its funky slapped bass, airy keyboards and the sweet vocals of Cristina, the song seems made to sip a nice cocktail at Ipanema.

A compilation of Minimal Wave from around the world ‘79-‘85. »The Hidden Tapes« features rare, unreleased, and licensed tracks from as far as Japan and the former Yugoslavia. Most of the bands on this compilation recorded on 4-track tape in their bedroom studios while two of them went further to collaborate by sending tapes through the mail. The sounds on this record range from raw proto-industrial to naive danceable Belgradian new wave, to filmic synthesizer music to more complex, vocal-driven melodic synthpop.

About the album TEKHENU: Holistic, soundscape storyteller The Allegorist takes inspiration from the ancient world for her fifth studio album, set for release on her label Awaken Chronicles.

A sonic fable titled TEKHENU, it continues the trajectory that the Berlin-based electronic producer and sound-designer has been following since the beginning – conceptualising narrative-heavy LPs centered around mythical lands. Her new works depict a lost protagonist and her spiritual, inward search across ten enrapturing chapters.

The title of the LP is a nod to the towering monoliths by the ancient Egyptians. Known to most by their Greek-given name “obelisk”, they stand tall around the world and it’s their global dispersion that inspired The Allegorist for the title of the album, seeing it as an allegory of a common bond, a point of connection. The Tale of TEKHENU, for the seekers Written by The Allegorist TEKHENU For the seekers

repressed !

It takes a lot to achieve the status of legendary or era defining in dance music, its sands shift so quickly artists, genres and labels have often come and gone before you realise.

So it's with some pride and deserved justification that Yoshitoshi marks its 20th anniversary with celebratory remix packages of its most iconic tracks.

Already riding high in the Beatport charts with the success of the Uto Karem and Robosonic mixes of Eddie Amadors House Music, the latter of which has spent the past month in the overall top 5, the label now plans a one, two punch with the follow-up: Alcatraz seminal Giv Me Luv.

We thought long and hard about how we scheduled this 20th anniversary project, says label boss Sharam, little point launching big and then following up with a whimper so we deliberately chose Alcatraz for this difficult task.
But the challenge didnt end there; a massive record still deserves a massive remix and I think its safe to say we found the perfect woman for the job...

Step forward undisputed techno titan Nicole Moudaber who leapt at the opportunity to remix the track.
Ive got so many fond memories of Giv Me Luv, it was one of my favourite tunes from my formative clubbing days, recalls Nicole happily, so, when Yoshi mentioned the idea of me remix-ing it I just couldn't say no.

In fact I was so familiar with Alcatraz I was already awash with ideas of what I could, or should, do with it.

As I got into the mix one of those ideas just grew and grew, namely an extended breakdown that constantly builds; layering the memorable vocal to an intense pay-off and (hopeful) moment of real dancefloor drama. Nicoles humble description doesn't quite do the end result justice, which is a modern, masterful take on the classic.
Her iconic techno beats, dark twisted stabs and arrangement of that bassline drive toward the mentioned break, which will undoubtedly rival the fireworks of any impending NYE celebrations. In fact, expect this track to be THE soundtrack to many a dance floor come the all-important hand-over to 2015. And, just in case that weren't enough, Yoshi has also secured the skills of Tent Cantrelle to deliver the perfect deep house foil to Nicoles techno ferocity as Sharam concludes, We wanted a real slice of contemporary funk from the companion mix.

Yoshi is synonymous with exploring the line between deep house and techno, perhaps no more so than during its formative years, so this re-mix completes the package perfectly.

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Jossy Mitsu returns to Astral Black with ‘Planet J 2’, follow up to her 2021 debut ‘Planet J’. Since then, the Rinse-FM resident’s star has continued to rise, having curated takeovers at Fabric, b2b’s with the likes of Joy Orbison, guest mixes for Benji B, delivering hand picked for the likes of Hessle Audio & Four tet and show stealing appearances at Dekmantel, Outlook & Dour Festivals to name a few.

With consistent support from the likes of Resident Advisor, DJ Mag, Mixmag and Crack Magazine. The level up in production values across ‘Planet J 2’ looks set to increase Jossy’s notoriety as not only of the UK’s most forward thinking DJs but also as a go to unique, bass heavy, club tools.

DJ support from Sherelle, Ben UFO, Floating Points and Jamz Supernova.

The American new wave band Oingo Boingo was formed by Danny Elfman in 1979 and were known for their experimental music, which can be described as a mix of rock, ska, pop and world music. The band's body of work spanned 17 years, with various genre- and line-up changes. In 1994, after shortening their name into just Boingo, they released their final studio album Boingo. At that time, the line-up consisted of Elfman, Steve Bartek, and John Avila. The album features a cover version of The Beatles “I Am The Walrus”. Elfman would later become the legendary film composer he now is. Spiderman, Batman, Alice in Wonderland, the Simpsons tune- too name but a few- are all by his hand.

AMG (whom The Source called “more foul mouthed than a late 70s Richard Pryor concert film”), was a part of Courtney Branch and Tracy Kendrick's Total Trak Production crew which developed DJ Quik, 2nd II None, Sylk Smoov, Hi-C and Boss. He made his first appearances on DJ Quik's debut album Quik is The Name. In December of 1991, AMG released his self-produced debut solo album Bitch Betta Have My Money with the platinum selling lead single of the same name. This reissue has this West Coast 90s classic on vinyl for the first time since its initial release and includes “I Wanna Be Yo Ho (Remix)” previously available only as a CD bonus track.