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Powerful duo Henri Bergmann and Wennink make their Crosstown Rebels debut with ‘Guardian Angel’. Stimming and Hardt Antoine take the single to darker territories on their remixes.

Magnetic husband-and-wife duo Henri Bergmann and Wennink blend Bergmann’s taste for melodic realms with Wennink’s etherealv vocals and experimental left-leaning sound. Focusing on supporting up-and-coming talent via her label Automatik, Bergmann has also recruited some of the most notable producers in melodic house and techno for remixes, including The Element, Hernan Cattaneo, and Betical, while the duo's compelling collaborative work has caught the attention of heavyweights like Afterlife - featuring on the label’s ‘Realm Of Consciousness Pt.VI’ VA. Now, following Bergmann’s recent Hï Ibiza appearance and ahead of forthcoming sets at the likes of Zamna Mexico City, KOKO and Amsterdam Dance Event, the London-based couple bring their talents to Damian Lazarus’ Crosstown Rebels with ‘Guardian Angel’. Set to captivate audiences, the enchanting vocal single lands this September with remixes from German house DJ/producer Stimming and fellow London-based eclectic talent Hardt Antoine.

Melancholic yet uplifting ‘Guardian Angel’ opens with richly textured choric percussion that rises to meet Wennink's angelic vocals to powerful emotive effect. Stimming’s remix enters second, reaching for intensity over a stripped-back rendition through the driving rhythm and ethereal SFX. Closing out the record, Hard Antoine's remix pulsates with darker basslines and sharper synths, leaning into the otherworldly and stretching the melody into satisfyingly strange sci-fi-esque planes.

Officially remastered reissue of the vocal house classic ‘Come Get My Lovin’ by Dionne. Produced by Komix and presented here for the first time on the original Bigshot Records label since its initial release 35 years ago.

This full length 8-minute remix was the favourite version during the second Summer(s) Of Love and a certified classic, ‘Come Get My Lovin’ still sounds as fresh today as it did in 1989.

Whether you’re buying this for the first time or buying to replace a worn out copy, here’s your chance to own a slice of house history.

Jean-Phi Dary's much-anticipated *MIND* project gets its first release with the *For Peace Remixes EP*. The record is set for release on September 20, 2024, via Comet Records. Featuring the extraordinary talents of French producer *I:Cube*, who brings his extensive expertise in the electronic scene to reinterpret Dary's original MIND compositions in his own unique way.
The record opens with a masterful blend of rhythmic precision and electronic depth, infused with Dary's signature style with a mindful, meditative quality. This 3-tracker delivers a dynamic and immersive experience with *I:Cube* signature rhythmic excellence and sharp focus on dance floor ready grooves.

Jean-Phi Dary, a producer and keyboardist with deep roots in Paris, London, West Africa, the Caribbean, and the United States, has crafted his debut project MIND to serve as a culmination of his musical journey. With sounds inspired by legends such as Herbie Hancock, Wally Badarou, and Brian Eno - Dary's work is bedded deeply in the modern modular synth culture and enriched by his collaborations with renowned artists like Tony Allen, Papa Wemba, and Jeff Mills - who Jean-Phi is currently collaborating with on "Tomorrow Comes The Harvest" with their album Evolution out last year, soon to be followed by a worldwide tour in 2024!
His innovative use of technology and analog instruments, combined with the unique contributions of I:Cube make the *For Peace Remixes* a notable release.

*Artist Quote* "I had the opportunity to use magnificent samples of the voices of singers from the Maroni River in French Guiana on certain tracks, these voices of the Bushinengé people reconnect me to my Guyanese and neg-maroon origins, my mother was born on the river and my father grew up in the Amazon region..”

Heavyweight special-effect 12" vinyl (three colors, marbled) with two-sided printed information insert about the album. Mastered and lacquer cut by Stefan Betke (Scape Mastering).

Taevalaotus delivers his second album "Ringlus" ("Circulation") as the second release from Estonian based Taevas Records label, comprised of five original tracks plus a remix from Octal Industries.

In a way, everything eventually returns to its starting point. With everything in constant movement, departure and arrival are nothing more than the beginning and the end of a circle. "Ringlus" as an album wanders along the path of its creator's fantasy. No third-party samples are used, the music's fabric is woven from original, natural sounds such as analog oscillators, vibrations of bass guitar strings, sonic echoes of nature, and cracking of the ice recorded underwater. The tracks contain sound and field recordings from the years 2013 to 2017 that were almost forgotten but then rediscovered from Studio Master 468 archive tapes. The aim was to circulate without taking notice of time and to create soundscapes with original resonance, structure and flow that serve as an antidote to contemporary rushed consumerism.

Hardware used: Alesis A6 Andromeda, Dave Smith Instruments Evolver, Elektron Analog Rytm, Yamaha electric bass, Tibetan singing bowls, wooden drum, Otari MTR-12, Drawmer 1974. 1973 & 1978, various analog effect pedals, scientific hydrophone in ice lake, Konka hand made ("organ-pipes") long distance microphone and portable Sony pcm-d50 in the field recordings.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Cosmic Twist EP is a Repress from 1993 written and produced by Iain Clifton. These tunes never made it past the white label promo, since the original distributor from back in the day went bust, along with the stock. Great to be able to bring this back to life for this follow up EP to BSBR002 "Respect to all that skated at Bowes Lyon skatepark, Stevenage and raved at Liberty 1992".

Berlin-based Small Great Things boss Luca Olivotto inaugurates his new sub-label At A Glance imprint this August with his own ‘Over & Out’ EP, comprising four original cuts.

Born and raised in Italy before relocating to Berlin in 2015, Luca Olivotto has since become a staple of the underground House scene in recent years through the establishment of his Small Great Things imprint and accompanying events series Small Great House. Now Luca marks another new chapter in his career with the launch of his new sub label of Small Great Things, At A Glance, kicking off with a project from the man himself.

Title-track ‘Over & Out’ leads with Olivotto offering up a classic slice of House via a Hammond organ bass groove, choppy chords and cinematic strings, underpinned by crisp raw drums and soulful vocal lines.

‘Brace D’ then shifts gears towards a Disco House tinged aesthetic with guitar licks, bell chimes and tension building strings ebbing and flowing amongst fluttering bass notes, airy chords and swinging percussion.

Up next on the B-side is ‘I’m Gonna Stay’, a groove-drive House track fuelled by an amalgamation of intertwined chords and vocals which steadily build towards a jazzy, atmospheric breakdown before the bouncy groove kicks back in to carry out the rest of the composition.

‘World Wide’ then concludes the release on a deeper tip with hazy keys and pad swells floating atop organic percussion, organ tones and a bouncy bass line.

Making her return to the stage after 44 years, with tour dates across the US, Australia and Europe, as well as iconic performances at Glastonbury and We Out Here, Asha Puthli’s lifelong career as an inspirational trailblazer has taken on a magical new chapter. We can’t think of many artists that have had as distinctive and diverse a journey as Asha, nor who have been involved in as many different genres of music as her. A musical pioneer who forged a path through ‘60s psych, free-jazz, pop, rock, disco, and more. To mark this golden hour in her stellar career we have repressed her legendary album, ‘The Devil Is Loose', on gold vinyl. Maybe her most well-known record, the 1976 LP features the psychedelic disco-funk-classic 'Space Talk’, where Asha's soaring vocals take listeners on a journey that mirrors her eclectic career. Championed by a wide range of musical scenes and movements, over space and time it has been commandeered as their own. Casting a unique spell on its listeners, each track on the album showcases Asha’s majestic, celestial style and sumptuous vocal range. Backed by breathtaking orchestral-infused, disco-enhanced instrumentation, it’s cinematic and captivating throughout. From the infectious funk of ‘Flying Fish’, to the cosmic transcendence of ‘The Devil Is Loose’ and the choir-channeling ‘Say Yes’, this album is a true masterpiece. At Mr Bongo we are thrilled to be releasing records by such an iconic, musical maverick as Asha. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it's the first time you've heard of Asha Puthli and you're just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha's world.

2024 Repress

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 5 hosts a single edit of “Erotic Delight” from the band's 1984 album Kuomboka backed with “Change of a Feeling,” an unheard WITCH track released for the very first time.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressive garage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a newera. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighbouring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was also within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

2024 Repress

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 4 carries a single edit of 'My Desire' backed with 'You Are My Sunshine' from the group's classic 'Movin’ On' LP from 1980.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressivegarage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a new era. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighboring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for
the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was alson within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

"LATZFONSER KREUZ / FELTUNER HÜTTE scheduled for release on September 20th 2024 is the third single to be lifted from Ulrich Troyer's TRANSIT TRIBE due later this year.

Mamadou Diabate, originally from Burkina-Faso and now resident in Vienna, who is also a world-famous virtuoso balaphon player, collaborates on "Latzfonser Kreuz" with fellow countryman Hamidou Koita to produce a remarkable percussion track, both singing and employing talking drum and djembe to come up with a sound that can only be described as dubbed-out Nyahbinghi-style electro-beats! The track references the little church at Latzfonser Kreuz, which is the highest pilgrimage spot in South Tyrol, one of the highest in Europe; every year in June, the Black Lord, a black carved Gothic wooden cross, is brought from the village church in Latzfons to thepilgrimage church, where it remains throughout the summer.

On the flip for "Feltuner Hütte" Ulrich Troyer is joined by co-producer Osman Murat Ertel, founding member of the electro-psych-folk group Baba Zula from Istanbul, who has worked internationally for many years collaborating with the likes of Jaki Liebezeit, Fred Frith and Mad Professor. But here Murat takes us on a dub psych-out trip with his favoured electric saz, with wha wha FX, delay and echo, like Link Wray meeting King Tubby on the old streets of Istanbul."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023, now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Mamadou Diabate: vocals (A) & talking drum (A)

Osman Murat Ertel: electric saz (B)

Hamidou Koita: vocals (A), djembe (A)

Didi Kern: percussion (A), drums (B)

Flip Philipp: percussion (B)

Ulrich Troyer: analog synthesizers & drum-machines, sampler, field recordings, dub effects (A+B)

A written by Mamadou Diabate, Hamidou Koita & Ulrich Troyer

B written by Osman Murat Ertel & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except electro saz on track B recorded by Osman Murat Ertel at Saniki Studio, Istanbul

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

Produced by Osman Murat Ertel & Ulrich Troyer

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

Cover Drawing by Ulrich Troyer

Special thanks to Steve Barker, Mamadou Diabate, Osman Murat Ertel, Diggory Kenrick, Eva Kelety, Didi Kern, Hamidou Koita and Flip Philipp

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

Death Is Not The End's 333 series continues with this killer slice of digi roots out of late 90s NY, also a big Jah Shaka selection at the time.

Take It Easy was produced by Ricky "Mad Man" Myrie - a reggae/dancehall producer active since the early 90s, and who was also providing writing and production on breakthrough albums for VP from Sean Paul, Capleton & others at this time. Featuring a sharp and poignant vocal from Gumbae Culture, it was recorded at the legendary Philip Smart's Long Island-based HC&F Studio, under the engineering guidance of Smart's brother-in-law and long time studio partner, Michel McDonald. The record's haunting xylophone licks, razor sharp snares and menacing subs perfectly combine throughout the vocal cut, and really come to the fore on the version for a raw and stripped back masterclass in digital dubwise.

Released in 1981& the last in a decade-long run of Top 50 R&B albums, ‘The Electric Spanking Of War Babies’ was the band’s twelfth studio LP & featured several players new to the Funkadelic line-up, notably Sly Stone. With its allusions to the Vietnam War & US imperialism, George Clinton’s project was destined to court controversy from the start, not least for its uncompromising sleeve art which original label Warner Bros. censored. Described by Robert Christgau as “the solidest, weirdest chunk of P-Funk since one nation gathered under a groove” & originally conceived as a double LP, many tracks saw release on Clinton’s later P-Funk projects. Arguably, it is better for having been précised down to a single album while still spawning two hit singles, the title track (US R&B No. 60) & ‘Shockwaves’ (US R&B No.53). FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Since we finally brought Countdown into the Acid Jazz orbit
four years ago, we have released a series of excellent records,
all tied to our own Ed Piller’s roots in the mod scene. After all,
Ed originally founded the label (with Maxine Forte and Terry
Rawlings), as an offshoot of Stiff Records, against the backdrop
of the mod revival of the early ‘80s.
Something that we have been looking to do for a while is launch
a special series of Countdown 7” singles, looking back at the
original Mod classics of the 1960s – and the time is now!
The first release is from the Fleur De Lys – who we have been
working with for some time – pairing their 1965 cover of Pete
Townshend’s ‘Circles’, with the first-time single release of their
cover of The Temptations’ ‘You’ve Got To Earn It’.
The band emerged from the vibrant Southampton scene with a
love of Soul and R&B, and were signed to the Immediate label
by Tony Calder, who had connections on the South Coast. Their
first single was ‘Moondreams’ (produced by Jimmy Page no
less), before their incendiary take on ‘Circles’ – a number
originally slated as The Who’s follow up to ‘My Generation’,
before getting caught up in legal matters. The Fleur De Lys
version remains one of the finest slices of the Pop Art Mod
sound, and is as fresh today as it was then. Originally released
to take advantage of The Who’s misfortunes, it was rushreleased and failed to chart. It proved to be their final release on
Immediate, before they signed with Frank Fenter.
‘You’ve Got To Earn It’ is from a tantalising, lost session from
1966 (which also included takes of The Impressions ‘Amen’ and
Don Covay’s ‘Sookie Sookie’). All that survived from the
session was an acetate of this amazing cut, found by group
member Gordon Haskell, from which this cut derives. We
originally released it as the title track of the first Fleur De Lys
compilation on Acid Jazz in 2013. It has never before been
available on 7” vinyl.

Slush Records are back for their second outing, remastering and rereleasing Sedona’s highly sought-after 1995 track, ‘Pulsation’. A portal to the underground of the ‘90s, Sedona’s original mixes and the remix from Robert Vaughan, fuse progressive house, trance and breakbeat, each oscillating to their own unique frequency. Not stopping there, Slush Records enlist the expertise of Seoul-born, Amsterdam-based Naone for a mesmerising new remix that harnesses all of that early ‘90s energy, with a fresh dynamism.

The story of Sedona begins with Dale Charles and Benny Blanco. As a touring DJ and buyer at Boston Beat Records in the mid ‘90s, Dale Charles was in diggers paradise. Freestyle was big business at the time and as a progressive house and breaks DJ, Dale couldn’t help but notice how good the drum programming was on some of the tracks. He spent endless hours trawling through the shops near 10,000 freestyle records, hoping to find that elusive secret weapon.

One day Dale found the break he was searching for and took it to Benny’s studio. Benny was an aspiring DJ and, more crucially, a producer with a conveniently concreted basement apartment he was slowly filling with synths, samplers and drum machines. Sampling and chopping up this gem of a break, utilising two TB-303’s that Benny recorded live for the acid lines and creating that signature throbbing arp on a Roland JD-800, the basis of ‘Pulsation’ was born.

The duo created a series of different mixes to tweak the feeling of the track. The ‘Ascending Mix’ and ‘Sinister Mix’ bookend this reissue. The former, a club-focussed cut with subtle to squelching 303 lines, rumbling sub bass frequencies and pulsating arps that anchor the track, as the sacred drum break fires your brain into trance-infused euphoria. The latter, an ominous slice of teleportational ambient electronica, sucking you into a wormhole of galactic synthesis and dream-state harps.

The first of the remixes sees Slush draft in the progressive wizardry of Naone to provide a fresh new take on the track. Leaning into the otherworldly ‘90s atmosphere of the original, Naone radiates the pulsating theme through swelling synth stabs and a driving acid bassline. Switching up the feel with an electro-tinged drum beat, she distorts the acid dials till the track explodes into a dystopian realm of twisted techno.

The second is Robert Vaughan’s ‘Test Tube’ mix from the original 12 Inch. A no-nonsense prog headspinner, that garnered plays from the likes of Sasha and Digweed. An acclaimed DJ and producer across the ‘90s, with releases on the likes of Space Records and Metropolis, Vaughan injected the track with added breakbeat energy and swirling, tripped-out breakdowns to masterful effect.

A timeless dancefloor classic, expertly remastered and reissued with a remix that both honours and updates the original.

Einer der größten Club Hits aus dem Jahr 1999 jetzt wieder als 12“ Vinyl erhältlich: „Arabian Pleasure“ ist eine Gemeinschaftsproduktion der beiden italienischen Kult DJs Mauro Picotto und Mario Piu. Die farbige 12” Max Single enthält neben 4 Original Mixen aus dem Jahr 1999 einen neuen Remix von Karl8 & Andrea Monta.

Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flügel and Nathan Fake.

Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more.

The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss.

First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track.

Roman Flügel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

Raining Heart is a studio project originally created by the German musicians Peter Heckmann and Tobias Freund in 1986 in Frankfurt. Very much in the same vein as Art of Noise with its studio sound experimentalism, but with a Kraut edge to it. If there was one track that could be played for everyone at the G20 Summit whilst on LSD in hopes of achieving world peace, it might be “Raining Heart”, the first track on this EP, it’s just one of those tracks that makes you wonder what these people were eating for breakfast at the time. Nothing technically mind blowing, just crafted to perfection in terms of all the elements coming together in therapeutic beauty, (also clearly exposing Peter’s relationship with theatrical production). A downtempo chugger with the dreamiest of sounds, effortlessly transporting the listener to another dimension, the vocals are unthinkable, by Yucca Rose, an East Javanese Jazz singer, almost as if she was broadcasting from a radio station in a parallel universe. “Alien Beat” takes a more aggressive turn into some kind of neo rock direction generously decorated with a wide range of studio tricks that might have been ground breaking at the time. B-side offers two new remixes by Castro, a “K-hole Collage” version of “Raining Heart” taking the original theme to another dubbed out realm, and a “Bonus Beat” extension of “Alien Beat” that dissects the key elements of the original track in efforts to develop a more dancefloor oriented DJ tool. Remastered with original artwork.

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

microCastle’s second offering of 2024 welcomes Upercent back to the label for a new EP. Since first appearing in 2011, Valencia based sound architect Upercent has developed a distinct brand of electronic futurism. An enthusiastic attitude towards experimentation, coupled with extraordinary creative vision has made the Spaniard one of the more unique artists to emerge in the last decade. Upercent’s first microCastle project, 2018’s 'Vuit', not only served as the imprint's second ever vinyl release, but continued the Valencia resident’s mission to create contemporary club tools and destabilizing sound explorations. Seemingly in constant motion moving forward, Upercent would go on to record projects for Diynamic, Kompakt and Watergate, amongst others, firmly establishing his place amongst the underground’s premiere talents. Now more than five years on from this elusive string of projects, it has been Habitat, Innervisions, Sum Over Histories and TAU which have been vehicles for his creative swell over the last two calendar years, reminding us of the niche he carved out during his initial rise, as he continues to maneuver himself through the confines of electronic music. With 2024 being highlighted by ‘Falling’, a two-track collaborative project with Germany’s Adana Twins, Upercent now returns to microCastle with ‘Persevere’.

Beginning with the organic monochromes of ‘Oracle’, Upercent’s craftsmanship reveals itself across the slow-burning piece, one where funked-up beats and rubbery basslines get peppered with skittering rhythms, thought provoking vocal samples and glitched-out electronics. Its subdued yet swing-heavy suspense while perfect for an astute dancefloor, also acts as an ideal segue into the hopeful qualities of ‘As It May See’. Paul Brenning’s vocals feature here, falling like raindrops atop woody kick drums and clustered sonics, eventually giving way to an interlude of soulful phrasing, coaxing beautifully with granular textures and ghostly swirls of wind, before tastefully moving forward as panoramic arps emerge for a mesmerizing finale.

Upercent’s distinct aesthetic continues on the fourth selection ‘Cult’. Perhaps the most direct composition on the EP, its six-minute running time quickly sets you adrift in a techno-inspired wasteland of deconstructed vocals and retro chord stabs. Both intimate and wide-ranging, it's a series of crystal-like drones which engulf your attention whole, creating a sombre, ceremonial backdrop for misty glitches and fog-like swells to create a scenic storyboard. Reverberating hits and twitchy rhythms fill the space of closer ‘Blau Cel’, a production where Upercent crafts a trek through mountainous dancefloor trails. Unbound by gravity, orchestral gestures sweep across mossy plains and frost-filled sighs, offering listeners another immersive journey into the uncharted realms of musical expression.

The widely beloved Romanian producer and DJ Barac delivers his new EP ‘Hypnotic Grayscale’ via Yecad this May, comprising three original compositions across the vinyl only release.

Since his debut release over a decade ago, Bucharest, Romania’s Barac has grown to become one of the most prized producers and DJ’s in the microhouse movement coming out of his home turf. A name synonymous with high quality, subtly nuanced and hypnotic grooves tightly woven together to create a sound that’s distinctly his and has found a home on many reputed labels such as Meander, Pressure Traxx, Adam’s Bite and of course his own Shamandrum. Here though, we see Barac joining the roster of Yecad, a fledgling London based imprint that has played host to music from Sepp, Vlad Arapusu, Mihai Pol, Dragutesku and Constratti since its inception in 2023.

The title-track ‘Hypnotic Grayscale’ opens the EP and encapsulates all that is loved about Barac’s productions, delicately unfurling atmospherics, haunting voices and softly reverberated chimes intertwined with airy dub chords and stripped back drums.
Following to open the B-Side is ‘Everything that is seen comes from the unseen’, stripping things back to a rawer, percussive driven state with crisp drums and a bubbling acid- tinged bass line carry the groove while sporadic resonant flutters and vocal murmurs ebb and flow within. ‘He restores my soul’ then rounds out the EP and sees Barac explore his more experimental side, fusing together ghostly synth melodies, echoing chords, spiraling resonant swells and a hypnotic Romanian spoken word vocal.

DJ support - Groove Armada, Sam Divine, Ame, Rampa, David Penn,Simon Dunmore, and Oliver Dollar

Kaoz Theory proudly presents Devon Miles and his new track, 'Beautifull.', executively produced by Kerri Chandler.

Featuring remixes from the legendary Kerri Chandler himself and the talented Opolopo.
Devon Miles is a self-taught Nigerian multi-instrumentalist, producer, composer, and singer/songwriter. He is driven by a deep passion to spread light, love, and truth through his music. Devon began his musical journey in his childhood church and, by the age of 16, opened his first recording studio with his older brother and two cousins. With years of experience collaborating with national and international artists, bands, and theatre troupes, Devon now invites you to explore his world through his music.

Temporize focuses on putting out diverse and leftfield electronic music with no real boundaries. The label is based in Palermo, Italy and is run by Scottish native Maiú DJ. Mastering: Martin Maischein Artwork painting: Janne Räisänen Photography: Jussi Jääskeläinen Design: Juha Puuperä Gruth: Black arts, misanthropy & abhorrence KuJo: Original violin, cello and kantele recordings Igor Souza: Throat singing on track 6

Nicolai Toma returns to Subject To Restrictions Discs with “Phase Binder feat. Zorimira”, bringing flourishing organic waves of synth and acid gristle to the table. The Berlin producer is accompanied by his longtime friend vesto comodo from Stockholm who contributes a remix and Zorimira lends her voice and lyrics.

“Phase Binder feat. Zorimira” is more than a collection of tracks. It is a condensate of the musical spheres Nicolai Toma has been working on over the last few years. The corny beats are the foundation of all three tracks, whether it’s a downtempo chugger, an acid bomb or a pop-tinged house hit. In collaboration with singer Zorimira, Toma has used her voice and lyrics that sound like clever samples but are actually original recordings. Toma receives further support from the Swedish producer vesto comodo, who contributes his own version of one of the tracks in the form of a remix.

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

2024 Repress

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

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

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

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

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

Jasper Street Co. is one of the House Music community’s signature artist endeavors. Produced by Baltimore’s legendary production team The Basement Boys, and consisting of a collection of singers who can emote on the highest level of gospel, soulful and peak hour house, this collective has been riding high for years and is now going next level with the recent release of the “Rejoicing” album on Nervous Records. Prior releases from the album have skyrocketed to the top of DJ sales and club charts, with “Praying For You” being nominated for a Grammy for the Louie Vega remix in the Best Remixed Recording (non-classical) category.

Up next is a cover version of a song originally recorded by Teddy Pendergrass. Written and produced by Gamble & Huff, “You’re My Latest, My Greatest Inspiration” was originally released on Philly International Records in 1981. It was a massive R&B & Disco hit back then, and now has been updated by Jasper Street Co. for the house music community. The single package has an outstanding collection of remixers on board who make the project something even more special for the purists but also will launch into the larger worldwide music community. Teddy Douglas produced the original album version, but comes back for another take while adding some serious bass / kick drum juice with his Teddy Douglas Bass Intro Remix. Micfreak and DJ Spen put a highly creative spin on the original with some added effects on the vocal and a piano line that soars into the highest level of peak hour house energy with their Higher Love Remixes. Tensnake also gives it a very distinctive and infectious groove, while Dr. Packer takes all the original elements and uses his great talents and appreciation for soulful house and disco to make this project even more essential for house purists than it already is!

Double Vinyl package on Feb. 5 on Nervous Records. Includes custom jacket and yellow vinyl.

Not one to rest on his laurels, the Grammy-winning nu-disco hitmaker is at it again. Purple Disco Machine collaborates with a wealth of talent on his latest single "Honey Boy". The star cast includes Swedish hitmaker Benjamin Ingrosso, Jamaican rising star Shenseea, and disco legend Nile Rodgers, creating a funked up fusion track that merges modern pop energy with decades of disco knowledge and excellence - not forgetting them signature Rodgers guitar licks!

2024 Repress

Great classic and timeless tune of the 80s and French Boogie scene, « Histoire d’1 Soir (Bye bye les galères) » is an ode to party, liberty, youth and freedom, interpreted by Bibi Flash aka Brigitte Gasté, an atypical singer from the French Boogie.

With its light lyrics and mythical chorus, its euphoria and irresistible disco-rap vibe, this track produced by Philippe Renaux (Holly Guns, Clever, Pianola…) released in 1983 is a sincere photography of its time, during which these children of the « summer of love » and May 68 criss-crossed Paris in search of endless nights, pleasure and freedom.

A prized and rare record which is nowadays repressed by Barbecue imprint in 2021, in its 12’’ version, with the original, the Disco Mix, instrumental and the A Cappella, and is accompanied by a new modern and festive edit by French house producer Blutch.

As a bonus, an insert with exclusive texts and photos by Bibi Flash and Philippe Renaux, in a fun and flash universe full of bright colors, revealing the spirit of these good old times.

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

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

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

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

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

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

Cetu Javu was a German synth-pop band lead by singer Javier Revilla Diez and synth wizard and composer Chris Demere. They started with the band in 1984 and in the spring next year surprisingly reached the third place in a young talent festival in Hanover. Several other shows followed but the highlight was a concert in December of 1986 as the opening act of Erasure. Their first maxi single “Help Me Now” was released in the spring of 1987 on their own label’s. Through the mediation of Talla 2XLC, Cetu Javu got a record contract with major company ZYX Records and released their debut album “Southern Lands” in 1990.

When the song “A Dónde”, a B-side sung in Spanish included on the single “So Strange”, hit number two in Spain, the band surprisingly achieved a great success and toured all this country. The second full-length, “Where Is Where”, was released in 1992 in Spain. The success did not stop here and led Cetu Javu became very popular in some other countries such as Argentina and Mexico. Unfortunately, in 1994, between problems and having to make decisions about the future, the group withdrew from the music scene and each member moved to focus to other activities.

“Where is Where” is re-released contains the original album along with some extended versions and remixes from the singles “¿Por Qué?”, “Dame Tu Mano” and “Una Mujer”. Limited edition of 500 copies on gatefold sleeve and a poster.

Garage powerhouse Zed Bias is back with more old school garage brilliance with the new single 'Shell Them Again' featuring the vocals of Yung Saber and Brakeman. The original has plenty of retro signifiers from the low-end wobble to the withering synth effects, plus crisp hits and jostling drums. After the dub mix comes a remix from Zed himself alongside Safire which is much more dirty and raw. The beats are broken up so the track takes on a dubstep quality as the low-end oscillations bring the weight and drums hit with more force. Finally, the acappella closes out this fresh 12" on IFG.

Inspired by Front 242, Skinny Puppy and Clock DVA, Arno and Tibor were fellow students at the Center of Electronic Music (CEM) in Arnhem, Netherlands during the mid 80's.



After getting a record deal with the Belgian Antler Subway, and started producing their first EP, originally meant as EBM. But since they were in the middle of proceeding, they took the chance to incorporate some of those influences in their first record, 'Force D'Inquisition', in 1990, which became one of the earliest Dutch house records.



Track A2 is the legendary 'Apocalypse', which was quite a hit at the time both in the EBM and acid scene, with gentlemen like Frankie Knuckles playing it in his sets.

Arno Peeters was later part of Random XS and Urban Electro and worked solo as Spasms on Djax-Up-Beats.



In memory of Tibor Fülöp, 17-03-2010.

Charles Levine is best known as one half of SoulClap, the love-fuelled production and DJ duo that brought all new emotions to the dance music scene when they first emerged in the mid-noughties. MartinButtrich is an acclaimed studio wizard and Grammy-nominated producer with an enviable discography that pairs meticulous synth craft with compelling grooves from across the house spectrum. Together, the two have formed a close friendship originally stemming from a 2016 collaboration where Buttrich mixed and added production to Soul Clap’s self-titled second album which was released on !K7 Records. Since then, Buttrich and Levine have worked their way through a variety of studio sessions, exciting moments of synthesis and deep philosophical wax-ings, ultimately culminating in this present moment in time on Stratasonic.

They open up their new EP with 'Festival Queen', a powerful and fulsome cut with angelic vocals working you into a frenzied state as the percussive grooves power on. After a pulsating, stripped-back Dub allows the colourful synth work to shine, 'Festival Queen Reprise' is stripped of the drums and becomes a more heavenly piece perfect for comedowns.'Charlie & The Moog' is a deep and playful trippy affair with languid synths bringing cheeky energy to the loose-limbed drums. It's a cosmic world of ever-shift-ing melody that warps space and time, and a dub gets even more wonderfully woozy.

Number six-up for our Prozpektiva series and for this record we are proud to present a future star, an electronic music producer from Montevideo, Uruguay, Pi. With single track contributions so far on labels such as Holístico Records, White Scar and Lutzifer this is Pi's first full original release - with her trademark oscillations through techno, breakbeat, and electro with melodic tones the future definitely looks bright.