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Y'all ready to mangle peoples heads??? Most of you are, but not YOU,-YOU know who you are, get out of here with your NU Garage chipmunk vocal Bass-Hop shit...

Mr. Cool aka Louie Fresco aka El Cabrone has some heat right here.
Get it- heat, cause he's from Mexico City, and cause the ep is Picante.

Pride is some dank ass bassment shit right here.
Percussive grooves for days, mind melting sounds and a nice tripped out vocal to round it all out.
Pride has a modern minimal shuffle, and that swingy greasy percussion that the Mexicans do
so well,its even low rumble that hits just right in the booty.

A perfect combo of blended brains and brawn!

On the flip we have the K-Dot. I hope it's referencing some new drug that is microdot acid and K combined in a mind warping 250Mg tablet.
This song sounds just like that, mind bending, face melting grinding madness, it rolls and rolls and evolves and evolves.
Put that record on and just watch people make twisted faces and dance like they are puppets getting their strings pulled.

Mr. Cool nailed this, and I question his sanity, and life choices. Nobody normal makes music like
this.

If you don't like this record now, you probably will in 18 years when it's the jam all over again cause a 65 year old Raresh drops it at Sunwaves 309.

Mind you if we keep this global warming shit up, all our vinyl gonna melt. Live in the moment and buy records now.

8 tracks of genuine mid-90s acid, techno, and ambient for fans of AGE, Spacetime Continuum, Caustic Window & Air Liquide.

Reissue of A3000 "Magnetic Gliding" album, produced by Swiss musicians Marco Repetto and Stefan Riesen, also known as Synectics on Rephlex and founders of Axodya Records. Originally released in 1995 on the Italian Disturbance label, it has now been remastered and proudly reissued for 2023 in a limited edition of 500 copies by Musique Pour La Danse. Enjoy this trip.

Marco Repetto was a member of the world-famous wave/punk band Grauzone. In the late '80s, he delved into techno, ambient, and psychedelic music, drawing inspiration from nature and shamanic knowledge. His performances are described as colorful, playful, and mind-opening experiences. His main project now is "Bigeneric," which he releases on his label, Inzec Records.

Stefan Riesen has been a prominent figure in the Swiss techno scene since 1995. He is the founder-manager of Phont Music, SuperBra, Morris/Audio, Floppy Funk, and Speaker Attack. He has (co-)produced numerous tracks under various aliases on different labels, including Box Blaze, Flaptrack, Hooper, Nylon, Sonic Tourism, Spin, A3000, Box Blaze & Deetron, Dialogue, Lausen, R.B.R., Sidestepper, Silver Zone, Skank Burner, Synectics, and more.

Bar Musica is a brand new label that promises to inject plenty of charm and originality into the underground house and techno world. The first release kicked up quite a storm from label owner Bartolomeo, and the second release features a trio of great originals by J Paraguai, with a remix from long time electronic talent Bruno Pronsato.

Rumba is up first and is a full fat, corrugated house track with tribal percussion, punchy drums that swing down low and Afro vocals. It is a dynamite groove with roughshod tin pot hits that are carefully treated and bring a lovably wild side to the track. Thesoundsays founder and Berlin based New Yorker Bruno Pronsato has been on the fringes of the underground for more than a decade with inventive EPs and LPs on labels like Hello repeat and Bosconi. His remix is stripped back to a forceful and rubbery techno groove. Blistered synths rip up the middle and spooky voices, trippy effects and manic loops all make it a freaky late night or after-hours tune that will send floors wild.

Ble is then another J Paraguai, and this one is again unhinged and urgent, with intense synths exploding above shuffling, tightly knotted minimal drums and sweeping pads. It's pure WTF music for brave DJs and dancers and is a truly original production.

Then last original Atles is rugged and impactful in the way in combines house and techno into new ideas. It is stripped back to little chopped loops that bury deep in your brain and have you in a trance in no time. As such, it rounds out a fine EP and keeps this exciting new label going off in great style.

"BASELINE CAVI" is a collaboration album between Inland Empire/Los Angeles rapper Trizz and producer MIKE SUMMERS (aka Seven) from Kansas City. The album has that classic Westcoast Hip-Hop sound and the intro track gives that feeling right away. Guest features on the album are from Bino Rideaux, XV, T.F, ICECOLDBISHOP, John Givez and Bale.

Though fans may not know it, this collaboration between Inland Empire California emcee Trizz and Kansas City production ace MIKE SUMMERS has been brewing for close to a decade. Back in 2013 SUMMERS (then known as Seven) was already a prolific producer signed to Tech N9ne's Strange Music label and Trizz was part of horrorcore legend Brotha Lynch Hung's Madesicc Muzic roster. The two connected while working on Lynch Hung's "Mannibalector" album and a spark for future work was laid.

Linking up in spring of last year, the two creatively fed off each-other with the resulting album evoking classic West Coast melodicism and car-rattling thump. As Trizz states "this sh*t is so f*ckin authentic. It got bounce, it's swangin' and bangin! When you hear this album, you can feel it and damn near smell the palm trees and bomb ass weed."

As SUMMERS relayed "It's probably different for a lot of my fans to hear a more classic West Coast style of production from me, but that style of production has always been embedded in my sound. I grew up on 90's West Coast Hip-Hops studying producers like DJ Quik and Dr. Dre. The only reason I started using lots of live musicians on my tracks was because I watched Quik do it. BASELINE CAVI really let me dig into that classic L.A. sound that I've always wanted to build with.

Lyrically Trizz's immediately distinctive flow and storytelling abilities are at a new plateau with the emcee admitting "The lyrics on this album are probably more refined and defined because I just turned 30 and I have no more time to waste."

A collection of unreleased themes and scores from 18 short animated films from the world famous Zagreb School Of Animated Film. Includes Oscar winning short cartoon Ersatz / Surogat by Dusan Vukotic (1961) and many other jazz, electronica and experimental scores by composer Tomislav Simovic. Coined by the famed film theorist Georges Sadoul at the 1959 Cannes Festival, The Zagreb School of Animated Film(s) or The Zagreb School of Animation, was defined as an artistic and philosophical world-view that set its mark on the history of animation in the 60's and 70's. The key feature of the Zagreb School (not educational facility in any kind), was commitment to stylization in contrast with the Disney-style canon of realistic animation. Among many composers that worked in Zagreb Film productions, the name of Tomislav Simovic (1931 - 2014) stands out. In his oeuvre of 300+ film scores (not counting compositions and arrangements for pop singers and jazz orchestras), many were made exclusively for Zagreb film documentaries, fiction shorts, features and animation. Simovic was particularly adept at writing music for cartoons. He skillfully synchronized movement and sound and mixed different musical genres, although, like his peers at the time, he leaned towards jazz. 'The Zagreb School of Animated Film (Original Soundtracks 1961-1982)' is compiled by Leri Ahel (Mutant Disco Radio Show) and Zeljko Luketic (Electronic Jugoton, Ex-Yu Electronica III). Master tapes were considered lost, now found and restored for this epic 2 x LP release celebrating Yugoslavia's animated art shorts. Double vinyl gatefold with extensive liner notes, photographs from the films and exclusive cover artwork by Dejan Krsic (NEP / Nova Evropa).

Inherently dark but aflush with pop sensibility, Constellations is the 2014 full-length debut from synthpop duo Dead Astronauts (Jared Kyle and Hayley Stewart). The follow-up to 2013’s eponymous EP, it’s an album full of post-punk and new wave inspiration, sure to please fans of Joy Division, Echo and the Bunnymen, and Depeche Mode.

Midnight Mannequin Records is proud to present this deluxe reissue of Constellations, on vinyl for the very first time. A nearly decade-old synthwave classic is now poised to become a modern darkwave hit. Dead Astronauts has always had one foot firmly on synthwave ground, but the band’s willingness to eschew genre limitations and explore the vast spaces of darkwave, goth and everything in between is one of the main reasons Constellations still feels so fresh and unique. An album way ahead of its time. An album that sees two artists at the top of their game who complement each other perfectly. When Kyle’s deep baritone meets Stewart’s ethereal, subdued delivery, the results are magic. A timeless album now in a timeless format; that magic captured and preserved, tactile and eternal

Limited edition on 2xLP transparent neon pink vinyl, housed in a gatefold jacket. Includes OBI strip.

It's not because one might have worked with people like Jimi Hendrix, John McLaughlin and Rod Stewart throughout their career that Italo-Disco wouldn't get the best of your work. A great example of the Italian phenomenon's infectiously widespread grip is British rock keyboardist Brian Auger's path, when he found himself in a Milanese recording studio during the mid 80's and recorded his last known release in that decade. Powerfully fusing decades of rock and jazz education with the synthetic hysteria of the time (and culture), the result is a classic downtempo number that has found its way into some of our favorite DJ sets for a while now. Vocal and instrumental are featured on the A-side and in addition the B-side offers a new remix where things take somewhat of a catastrophic turn into what sounds like Brian getting on the wrong train to a K-hole, probably not for most dance floors. Meticulously remastered at manmade mastering in Berlin.

Brandon Spivey & Richie Anderson have been producing incredible music since 1993 when they released under the name "Prole Sythesis" on Alien Reign records. In 1994 they put out a series of highly sought after picture discs on the UK label Kill Out Recordings under the name A'Simetric. They went on to produce releases on USA labels Drop Bass Network & Six Sixty Six records out of Milwaukee!

These tracks are a mixture of new and old tracks. The original 90's tracks recovered from old DATs!

This release has some seriously special artwork by Mattthieu Bourel aka EK Dojo. He's had work commissioned by the New York Times, The Guardian, Washington Post, Esquire, New Scientist, Vice Managzine and many more. He has also done album covers for Venetian Snares, Carl Craig & Somatic Responses in the past.

Also comes with a free download code for the digital release of this EP.
LTD 200 COPIES

Introducing ‘The Springtones’, a brand new Australian soul-reggae outfit who have a love for old records and dubby reverberations. Their first vinyl release is a reggae and dub version of Milwaukee soul band Kings Go Forth's cult hit ‘High on Your Love’. Featuring Mr Maph on vocals, this tune has been inspired by soul-reggae greats like Bitty McLean and the dub antics from Trojan Records. The original 'High on Your Love' tune was released in 2009 on 7 inch vinyl through Mr C's Records (MRC - 1002). This tune and the Kings Go Forth album 'The Outsiders are Back' have been favourites of The Springtones crew for many years and 'High On Your Love' was 'crying out' for a reggae/dub version! Out as a 7 inch 45rpm record, each one is made from 100% recycled vinyl, meaning this release comes in multiple colours and each record is unique.

Love Love continues the LOVLTD series with a follow up from Bristol based producer Ben Pest. In a similar vein to his previous 12" on Love Love, 'On The Three', it's an all out techno affair with 4 high powered tracks geared for destroying peak-time dancefloors.

DJ support from:

Tariq Ziyad (Life Support Machine), Doc Scott, TMSN, Alland Byallo, Vell (Boiled Wonderland Records), Manfred Reckers, Shcuro, Hassan Abou Alam, Miley Serious, Zoltan Balla, Jensen Interceptor, Luke Sanger, Mumdance, Clouds, Piezo, Elena Rioboo, Jossy Mitsu, Yorobi, Blutch, NVST, Snuffo, Om Unit, Black Cadmium, Kreggo, Prettybwoy, Gene Farris, Timothy Clerkin, Danielle Moore, Sun People, JVK, Mad Miran, Stillhead, Nala, Brown, Monotronique, Syz, Appleblim, SDR, Wes Baggaley, Hrdvsion, Marco Zenker, Hooverian Blur, Roi, Mamiko Motto, Fear E, Giant Swan, Minor Science, Extrawelt, Second Storey, Toshiki Ohta, Hudson Mohawke, Nachtbraker, Mani Festo, Radioactiveman, Formally Unknown


“Mr Pest never ceases to bring the dirt.. Always top notch and 1 step ahead.. :) Proper”

Caserta’s favourite era of house was when the line between hip hop and house was really only made visible by the tempo of the songs. An art mastered by legends like Kenny Dope, Armand Van Helden and DJ Sneak to name a few.

FF to 2023, Caserta returns to that form with Joe’s Boutique. An obvious nod to the craftwork of the seminal album Paul’s Boutique by the Beastie Boy’s. Caserta fired up the samplers and sliced and diced his way to his first EP in years. With swinging drums, heavy basslines, chopped up vocals and music you might think you stumbled across a lost Strictly Rhythm acetate but mixed and mastered to year 2728 by the man himself.

Complete with vocal interludes segueing from track to track this truly is a listening experience as well as a dance floor filler all in one.

Most Excellent Unlimited is happy to announce the next release in its series of collaborations with master DJ and editor "Mr. K". Two exceptional deep classic album gems skillfully cut down to a maximum 7" 45rpm format, Luther’s “Funky Music (Is a Part of Me)” and Zulema’s “Giving Up.”

Long before “Never Too Much” and his other solo hits, Luther Vandross was an in-demand backup singer and vocal arranger, working with luminaries like Carly Simon, Bette Midler, and Donna Summer, along with his stand out performances in Change, Bionic Boogie, & so many more. Perhaps his most significant role, however, was backing David Bowie on the 1975 Young Americans album. It was during these sessions that Bowie heard Luther’s song “Funky Music (Is a Part of Me)” and re-tooled it to become the Bowie/Vandross joint composition “Fascination,” which went on to become a successful Bowie single.

For the latest edition of Most Excellent Unlimited’s series of edits, Mr. K has gone back to the original source, credited to the group (not the solo artist) Luther (which also features Christine Wiltshire). Mr. K's technique on this edit is cleverly subtle, in the process giving us the first opportunity to get almost the entire full-length song on compact 7-inch wax, keeping that irresistible building energy that places the track firmly on dancefloor-friendly territory.

“Giving Up” was the opening track on Zulema’s second LP, and given the drama of the intro, with its rolling piano, string ensemble, and piercing guitar, it’s not hard to hear why it was effective in that role. Mr. K’s edit benefits from a crystal clear remastering in which each element of the band is distinct in the soundfield, led by Zulema’s gutsy vocals upfront. Originally a 1964 Gladys Knight tearjerker that crept along at a tango’s pace, Zulema’s 1973 cover gives the song a new, powerfully soulful arrangement, championed by such disparate eras and tastemakers as Nicky Siano at the Gallery in the ’70s and breakbeat hunters the Beatnuts in the ’90s that has easily found favor with a wide variety of listeners and DJs, and this new issue should solidify that position. Never before available on 7-inch, “Giving Up” is a bonafide funk and proto-disco classic —

Mysteries Of The World is the stunning final studio album from legendary Philly supergroup MFSB. Expertly co-written and produced with the mighty Dexter Wansel, it features the untouchable, sparkling masterpiece "Mysteries Of The World". The whole album is truly exquisite; a stylish, classy collection of pure Philly soul and orchestral jazz-funk.

MFSB, an acronym for Mother, Father, Sister, Brother, was formed by producers Gamble & Huff of Philadelphia International Records. The band's roots can be traced back to the house band at the legendary Sigma Sound Studios, where they played on numerous hit records by artists like The O'Jays, Harold Melvin & The Blue Notes and The Stylistics. Mysteries Of The World comprises slick jazz-funk grooves, mostly penned by Wansel, who produced a fair chunk of the album in a similar style to his space-funk records. MFSB's smooth sound is retained but it receives a fresh, elegant and jazzy upgrade. While this album is as mellow as the rest of the latter-period MFSB recordings, it never forgets the group's soul music underpinnings.

Swaggering, well-timed horn blasts, sweeping strings and a percolating, hard thumping slap-bassline combine to devastating effect on amazing opener "Manhattan Skyline". It's a sexy mid-tempo instrumental which sets us up nicely for what follows. Essays could be written analysing the perfection of title track. Arguably the finest jazz-funk instrumental ever made, it's absolutely magnificent. Featuring musicianship of the highest calibre, the band play with their trademark tight discipline, cooking up a syncopating rhythm with an array of exploratory keyboard riffs wrapped around a punchy bassline sent from heaven. It sounds like house music, it's that ahead of its time. The string intro is sumptuous, hypnotic and divine and that's all before the beat hits. The track fuses classical, jazz and funk into a musical journey that you never want to end. Absolutely flawless, it's a dramatic disco dancefloor killer.

Says Dexter Wansel himself: "You know, of all the songs I wrote/produced/arranged for MFSB, this is for me the most different. I think it's an experiment in rhythmic, soft sonic synth and live string and harp combinations. I composed it in an effort to blend a funky groove, along with synthesis, and orchestral sounds. There are 3 synthesizers: Oberheim 4 voice, Polymoog, and of course Arp 2600v. And, as I remember, I recorded the track with the rhythm section, string, harp and flute players first. Then I added synthesis."

The profound elegance remains in abundance on the slinky, harp-laced "Tell Me Why"; Carla Benson's beautiful voice truly shines on this sophisticated cut. The side closes out in dramatic style with the string-drenched "Metamorphosis". It's a staccato, Blaxploitation groove workout featuring wah-wah guitar, creeping basslines, rich horn solos and soulful vocals drifting in and out of the mix. The bouncy, irrepressible "Fortune Teller" opens the B side in the bass-heavy orchestral funk style before the beautiful "Old San Juan" glides in, a Balearic-adjacent track with intricate arrangements, building its mellow soul groove around an atypical flamenco guitar hook. Melancholy, guitar-led instrumental "Thank You Miss Scott" is a real highlight, with gorgeous flute, string and percussive elements whilst closer "In the Shadow" works an otherworldly synth line into its bossa nova groove.

An essential record for fans of Philly soul and groovy jazz-funk, Mysteries Of The World was mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios. The stunning artwork, the work of renowned illustrator Robert Giusti, was restored at Be With HQ to round out this beautiful reissue.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

Unhuman & Petra Flurr is the collaborative synthpunk-technoid project of BITE label stalwart, Berlin-based Greek artist Unhuman and legendary queer wave figure Petra Flurr. 'Mala Vida' is their debut album on BITE that further evolves their sound beyond genre borders. The duo deliver an 8-track LP consisting of punk body music exhibiting the team's mastery on production, their androgynous vision and diverse influences. Petra Flurr's staggered, often effected, vocals cruise over pounding beats, bold iconic hooks and psychedelic atmospheres. His lyrics reference the seedy underbelly of Berlin's sex underground. Meanwhile, Unhuman's productions broadly range from the post-punk references of 'Labyrinth' to the new beat grooves of 'Short Life' featuring Ukrainian duo Garden Krist to the melodic orchestrations of 'Rush'. All this is reinterpreted by techno duo New Frames on a digital remix of 'Unzivilisiert'. 'Mala Vida' is a direct inspiration from their debut performance at Berghain for last year's BITE label night. After which, they swiftly retreated to the studio to compose, still in their platform heels. The two paint a coat of neon red over their preexisting batcave of sound. While the artwork by Liam Noonan compliments the gender fluidness of the album, distorting and digitally manipulating images of the creators themselves. Using heavy rhythmics, wavy mandates, an androgynous stare and unavoidable sexuality, Unhuman & Petra Flurr introduce us to their culled brand of queer death techno. Always with a wink.

Carved out from between the cracks of life over a 2 year period, Low Flung presents his eighth full length album ‘The Wheel’. Together, the 11 tracks provide a space to process and sit with difficult change. This takes the form of microscopic minimalist landscapes. Presented in both audio and physical form as micro grooves on a 12” vinyl.

At times the sound wanders and walks, other times it remains still, clear and precise. The omni-present artifacts found in ‘The Wheel’ are left to breathe a different life during each listen. Drones act like familiar trails losing their path as space transforms like a breeze over a table of sand. Hyper focused spores evolve around blurred waves of time. Electronic tones are captured flowing to the rhythm of a decaying natural world.

‘The Wheel’ is a patchwork of sonic experiments made using modular synthesis, fixed architecture synthesis, Buchla Music Easel (replica), outboard effects, cassette manipulation techniques, samplers and field recordings taken along the texturally rich and historically questionable eastern coastline of Australia.

The tracks have been composed with a materiality that embraces the acoustics of different listening environments. Much like mood, this means each listening experience is unique due to the natural acoustics of your listening space. The sounds on this album embrace this phenomena, creating a rich, visceral listening experience that slowly scratches away at discrete moments of time

Rather than attempting to traverse new sonic fields of experimentation in ‘The Wheel’, the album touches on the various spaces Danny has explored over the past ten years as an Audio Visual artist. Although technically eighth, it would be more fitting to say this album draws a clear line from ‘Blow Waves (2018)’ to ‘Outside The Circle (2020)’ to become the third and final chapter in the expanded non linear, unintentional landscape series. Serendipitous that each was conceived over 2 year periods of time.

While the key focus is sitting with difficult change, this album is also a celebration of any moment you might find yourself in. Good, bad, easy or hard, this album is an attempt to help with feeling content wherever you are along your path. With each cycle a new context.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

Debut full length vinyl from the UK/Italian duo of Ecka Mordecai and Valerio Tricoli, working together as Mordecoli. Individually these two travellers have carved out a path of ghostly musique concrete (Tricoli) and textural cello wandering (Mordecai). Alter is proud to present the album Château Mordécoly a result of two musicians (and friends) coming together to explore the middle ground of their individual investigations.

The results of a red wine induced residency at London’s Cafe Oto, Château Mordécoly is a panoramic audio field exploring both the physicality of sound, informed by the voice, cello and pictish harp of Mordecai, and the artificial manipulations of Tricoli’s revox tape machine. The delicate tension between the physical ‘real’ and the distortive ‘new’ leverages this release far beyond a tipsy residency and shifts it into a top tier electroacoustic take on the zeitgeist. Solo cello and voice appear rooted in the timbre of time. The magnetic tape is both a friend and covert manipulator.

The physical elements open themselves to disfigurement as a means of propagating the fantastical audio that unfolds from the initial enquiry. There’s no witchery or wizardry on part of either player but rather a symbiotic passing of the baton as the line between the real and the non-real flow in and out of themselves. The results are at once sedate, shocking and subversive.

Château Mordécoly is a disembodied sonic landscape; a phantasmagorical world of fantasy unfolds as the delicate beauty of Mordecai’s playing and singing is transformed into a playful and unusual landscape. Epoch’s are evoked as the visual stimuli resulting from these alchemical transformations conjure everything from a haunted house to the Middle Ages.

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

300 (hand-stamped, hand-numbered) The fourth episode of the Test Pressing series compilations includes tracks from such artists as Memotone, Giuseppe Ielasi, Andrew Pekler, Rome o Poirier, Nikolaienko, Felix Kubin, Jake Muir, Felicity Mangan, Star Searchers, and Tarotplane.

For over twenty years on the turntables, I.G.N.A has imposed his sound in the best clubs in Europe. Born in Sicily and raised in Emilia, I.G.N.A’s music is appreciated by many important artists with whom he shares the main stages. As a producer he has released successful EPs on labels such as Deeperfect, Moan and Greatstuff.

This new single is inspired by old school sounds and synths combined with house in a future perspective.


The remix was entrusted to two masters of house music: Ricky L and MarcoRadi. With the intention of spreading new emotions everywhere, looking where no one else lingers, surprising oneself as the music moves in new directions.

Originally released on Island Records in September 1998, the soundtrack to the box-office smash film, written and directed by Guy Ritchie, quickly became a must-own album, and is frequently cited as one of the best movie soundtracks of all time.

Lock, Stock and Two Smoking Barrels redefined the British gangster film and established Guy Ritchie as one of the greatest directing and writing talents of his generation. Using a frenetic mixture of filmic styles, humour, violence, breakdown of the fourth wall, narration, and vast amounts of swearing, it is hard to imagine a time when this film and its influence was not around. It made a star of the-then unknown Jason Statham, and, amazingly, hard man footballer Vinnie Jones, who as Big Chris, had several scene-stealing moments. Taking his cue from Quentin Tarantino, who had been meticulously curating his film soundtracks since the early 90s, Ritchie made the music to his film tell its own story, complete with memorable snatches of dialogue between many of the tracks.

It offers a beautifully eclectic selection of songs from the preceding three decades, plus then-current artists providing some of their best material, such as Hundred Mile High City by Ocean Colour Scene or E-Z Rollers' drum'n'bass masterpiece Walk This Land. Of the heritage tracks, Dusty Springfield sings her sultry take on Spooky; James Brown appears twice with The Boss and The Payback; The Stooges with I Wanna Be Your Dog, and two versions of Pete Wingfield's masterful one-hit-wonder 18 With A Bullet; in its 1975 original and a contemporary cover by Lewis Taylor and Carleen Anderson. And this is only half of it.

Josh Butler joins Kerri Chandler’s Kaoz Theory imprint with the ‘Piranha’ EP, featuring a collaboration with Josh Daniel and two further original compositions.

Northern England’s Josh Butler has been at the forefront of the contemporary house scene over the past decade, racking up releases for the likes of Defected, Rejected, Solid Grooves, Hot Creations, Crosstown Rebels, MÜSE and many more. Here though we see Josh returning to Kerri Chandler’s Kaoz Theory following 2023’s ‘Sunday Club’ with some fresh, dub house leaning material.

Opening the release is ‘Be There’, a collaboration with Josh Daniel, laid out across five and half minutes with dubbed out piano chords, crisp drums, a bouncy bass line and Daniel’s soulful vocal stylings.

A dub mix is offered up to follow, laying focus solely on the groove. On the flip side we have ‘Piranha’ up first, a hazy journey through dubbed out synth swells, airy vocal chants, skippy low-slung percussion and snaking sub bass tones.

‘Chess’ then rounds out the EP, laying down heavily swung minimalistic percussion, fluttering low end pulsations and ethereal atmospheric textures to create a subtly unfurling, cinematic dance floor groove.

DJ Feedback:

Junior Sanchez – Dope freshness!

Dennis Quin – Nice EP, feel the tracks

Lele Sacchi – All good deep rollers

Alexander Maier – Superb deepness in all

Ruff Stuff – Great EP! Love it!

Danny Howells – Loving this, all four tracks totally worth of support

Milos – Amazing EP, great tracks

Chris Brennan – Supremely smooth tunes, lovely lovely

Mr V – Straight fire