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The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

Somehow, 15 years has passed since I worked on A Colour For Autumn.

This recording was, in many ways, a critical one for me. In some respects, it rounded out a period of work that was focused on a particular marriage of thematics and harmony. Like For Varying Degrees Of Winter, it dwelled on old world impressions of the seasons, something that, in the southern hemisphere, isn’t intrinsically part of our way of approaching place. I think it was this incongruity with my own lived experience that kick started the interest in making these recordings.

The intention had originally been to take Vivaldi head-on , as the holder of the Four Seasons terrain (I jest of course), but shortly after completing this album, it became resoundingly clear that even in the old world, seasonality was a thing that was known ‘then’, and unknowable ‘now’.

Climate change, as a lived experience and not merely as a ‘possibility’, suddenly came into focus with reports flooding in about the climatic dynamics since the turn of the century and events like the Black Saturday fires here in Australia. It felt like, and continues to feel like, seasonality as some predictable measure of our world is relegated to the ‘before’ times. This record is not about these climatic shifts however, more a recognition of how we have used patterns and predictability to guide us over the centuries and perhaps a realisation that the way forward is not the path we have known historically.

Listening back to the record with fresh ears, a process made completely delightful by Stephan Mathieu who has carefully remastered it, I am struck by how minimal some of the structures were. There are moments that strike me as uncharacteristically patient and even generous, allowing one element to hold without interference. I’m grateful to still feel a deep connection to this edition and to the people and places that helped shape it.

I hope you find some sense of your place here. It’s offered with that intention and invitation.

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

The French electro-dub scene is in turmoil! Julien and Fabrice Oresta, founding members of the legendary band High Tone, are bringing out Twinkle, their new electro-dub side-project! These visionary twin brothers are back at the forefront of the scene they forged themselves, with a debut album due for release in autumn 2024 on the Jarring Effects label. On stage, the duo invite us on an intense journey, fusing sonic and visual dimensions.

Following his debut album Bisou Genou, released in October 2021, Frise Lumière are preparing the release of his second album Ambo (Experimental, minimalism, Noise Jazz, Avantgarde) for October 2024.Ambo is the outcome of numerous interactions from the past and present, affirming and advancing the research of his prepared bass's acoustic possibilities. His use of broomsticks, mallets, and drumsticks enhances his rhythmic playing. Whether he plays his instrument more conventionally or flat on his lap. A method that is already audible in a few of the tracks on his first LP

‘I Got What You Need’ is the statement from a troubadour coming into town to inform and entertain the people. Bearing songs of soul searching, of spiritual uplift, of tunes to groove to. Equipped with a powerful voice and stinging guitar the troubadour lays down his marker and backs up the statement. Two Times UK Blues Award winner Mississippi MacDonald has it all to play that troubadour as he presents his third album on APM Records. The gravelly Gospel tones on If I Could Only Hear My Mother Pray Again, and the imploring emotion on Your Dreams have MacDonald stretching out vocally. The former song in turn also showcasing another tour de force from regular backing vocalist Lucy Randall. Two self-penned instrumentals pay tribute; 3.35AM, to one of MacDonald’s prime influences Freddie King, and Soul City One to the in-house studio sound of Stax / MacDonald continues to be an excellent interpreter of southern soul and two more songs from the stable of Memphis studio and publishing house Ecko in Hard Luck and Trouble and the title track prove this. So too the band’s take on the R&B classic We’re Gonna Make It which in MacDonald’s hands really swings. Sinking is an epic ballad in which to lose yourself completely. The album is rich in variety, vibe and soulful energy. It’s MacDonald’s Blues and a whole lot more. MacDonald is a guest artist with the ‘Take Me To The River All Stars’, performing on stage at Red Rooster, filmed in session with Eric Gales and Jools Holland, and is filmed again at Royal Studios in Memphis on October 1st. MacDonald and band will perform at the UK Blues Challenge on October 8th, MacDonald is special guest of Visit Mississippi in Liverpool on October 18th when they unveil the first ever Blues Trail marker outside The Cavern. MacDonald will perform with Clarksdale veteran Super Chikan. International PR agent Blind Raccoon has been engaged to promote the new album. Last album ‘Heavy State Loving Blues’ was no. 1 on Roots Music Radio Contemporary Blues, no.1 on the IBBA chart for albums of the year 2023, and top 50 on the US Apple iTunes Blues chart, plus plays and a session on BBC Radio 2 Blues Show (Cerys Mathews). Live shows running up to end of March 2025. A singer/ songwriter from London who speaks quietly but makes music with real gravitas. A rising star since winning Traditional Blues Artist Of The Year and Acoustic Act of the Year at the 2024 UK Blues Awards. MacDonald has released two previous albums on APM Records. ‘Heavy State Loving Blues’ in 2023, and ‘Do Right Say Right’ in 2021- selected as a top 10 Blues album of the year in MOJO.

Vanishing Twin furthers their exploration of decidedly experimental territories with Afternoon X. Crafted with a playful balance of humour and rigour, with each member embracing the role of the multi-instrumentalist and process, over outcome. Following a series of line-up changes, Vanishing Twin is now the tightly honed collective of singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti (Holy Tongue, Tomaga, Moin) and bassist Susumu Mukai (Zongamin). Harnessing the diverse touchstones of its members; Lucas’ left-field song-craft, Magaletti’s singular approaches to experimental percussion, and Mukai’s long history in the production of electronic music, the band has refined a hypnotic sound at the juncture of minimalism, kosmische, post-punk, and dream-laden, psychedelic pop. These eight fluttering abstractions, culled, collaged, and built upon from a vast constellation of instruments, samples, and unclaimed sources. Lucas employs her voice as an instrument and a generator of raw sound, weaving surreal imagery and uncanny juxtapositions amongst the dance and propellant drive. From infectious grooves of the album’s title track and the constrained minimalism of “Subito”, to the ambitious heights of pieces like ‘The Down Below’ and Lazy Garden, which unfurl a psychedelic avant-gardism on the scope and scale of David Axelrod and Scott Walker. Vanishing Twin embark upon a new multifaceted journey that collectively culminates as the bands most forward-thinking and groundbreaking release to date

Alt-Rock pioneers Stone Temple Pilots fourth studio outing celebrates 25 years in 2024. Sonically soaring from grunge to glam, psychedelic to stadium rock, The album boasts the band's Billboard Top 100 hit "Sour Girl" as well as fan favourites like "Down" and the Rogers and Hammerstein-evoking "Atlanta." It is an album, as Stereogum put it, that is "a misunderstood masterpiece from a great band that never got their due as being great"

The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.

The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.

'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.

'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.

Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,

Re-issue of this hyper rare single from 1978 on Whirl (West Indies Records Limited). George Clinton's Parliament getting funked up in the Caribbean. TIP!

The Outfit was one of the funkiest bands ever coming from The Caribbean. They showed (together with other top bands from Barbados like The BRC or The Organization) the potential of Spouge music and the many creative possibilities that this genre can lead to.

This single is one of the finest examples of Spouge and Funk blended perfectly together in an explosive, ultra funky cover of the Parliament's "Dr. Funkenstein", titled for the occasion "Dr. Spougenstien". Despite being an extremely rare single, this song used to be quite popular in Barbados, to the point where most people on the Island used to think this was an original song. B side "Theme From Peter Gunn" serves up a punchy and groovy Cosmic disco tune on the very popular Theme from the Peter Gunn tv show.

This single is proposed to you as a first issue on the newly born Lava On Wax Records, started by Dj and Collector Matteo Fava, who have been to Barbados multiple times and works together with former Wirl label since 2020. The release has been possible thanks to help of GUTS from France, who worked since the start of this project to the end in close collaboration with Matteo. Here is what he has to say about this release: " Lava on Wax , It's putting love into old things to make them new with conscience and respect "

Especial is a label always on a mission to unearth left-of-centre perspectives on club music. This new EP, Be Honest, is just that from long-time friends Lipelis and Arsenii, who are based in Belgrade and New York but seek inspiration in the New York sounds of the 80s and hook up with Gayana for some woozy and lovelorn vocal additions. 'Be Honest' is a dubbed out and swaggering deep disco groove that comes as long, dub and cappella versions on the A-side.

The 12" dance mix brings some superb house drums into the picture and the Dubplate VIP is a fresh jungle rhythm. This is an EP with something for all.

GǼG, the production unit of Tokyo's leading club sound Monkey Timers and Okayama-based maverick producer Keita Sano, is proud to present this heavyweight, alternative, and leftfield release on the "Sound of Vast."

Over a powerful and mysterious bassline, the hypnotic A1 'Jack' builds up with sharp synth stabs, dark pads, and ACID voices taken from Ron Hardy's open reel soundtrack series Jackmaster Hater.
AA1 is followed by the obscure percussion track 'Yamato.' It is a reinterpretation of the drumming of legendary drummer Curt Cress from the German jazz-rock scene of the 80s in the context of dance music.
AA2, 'Central' takes the funky bassline of The S.O.S. Band's 1982 album 'High Hopes' and infuses it with roaring feedback, cutting guitars, and spacy synth sounds, giving it a fresh, modern twist and elevating it to the realm of cosmic disco.

Monkey Timers' love for the classics of disco, krautrock, and Chicago house, the intensity and immersion of current club music created by their real-life experience in the field, and Keita Sano's unique free-form outlandish sound techniques coexist on this 12" EP.

東京のクラブサウンドをレペゼンしてきたMonkey Timersと岡山の奇才プロデューサーKeita SanoによるプロダクションユニットGǼGが〈Sound of Vast〉より満を持して放つ超重量級オルタナティブ・レフトフィールド・ストンパー！

パワフルで不穏なベースライン上にRon Hardyのオープンリール音源シリーズJackmaster Haterから割愛した”Acid! Acid! Acid!” ヴォイスリフレインを刻み、鋭利なシンセスタブとダークなパッドでビルドアップしたヒプノティックなナンバーA1. Jackを皮切りに、80年代ドイツジャズロックシーンの伝説的ドラマーCurt Cressのドラミングをダンスミュージックの文脈で再解釈したオブスキュアなパーカッション・トラックAA1. Yamato、そしてThe S.O.S. Bandの82年作”High Hopes”のファンキーなベースラインに轟音フィードバックやカッティングギター、スペーシーなシンセサウンドで現代的なコズミックディスコへと昇華したAA2. Central。

ディスコ、クラウトロック、シカゴハウスといった古典への愛情と現場で積み重ねてきたリアルな経験が生み出す現行のクラブミュージックとしての強度と没入感、そしてKeita Sanoのフリーフォームで奇天烈なサウンドテクニックが同居した渾身の3曲を12“EPに収録。

We bring you one of the best unreleased tunes we have had the pleasure of uncovering. "Come Down" was made in the same sessions as Kong's massive "He Was a Friend" (reissued by DKR back in 2010), and never released until now. Pure uptempo digital fire.

*Update - Sept. 2024: Some may remember that the mixdown of the version side of this tune had the bass drop out early on and never come back. This was odd and maybe even a mistake in the mix? But none the less, due to a puritanical impulse, we didn't trouble it. For this second time around for this 45, thru the miracles of modern science, the bassline has been added back to ride thru the verison side.

Vind is 12 pieces written and performed by CTM and produced by Jakob Littauer.

The album consists of cello compositions with few exceptions - a daf enhancing the rhythm, a distant memory of the kora, a pensive flute or folly sounds. The softness of the acoustic instruments is counterplayed by concise compositions and hyperreal productions.

The music presents itself as part spirit, part form; the movement in the moment, repetition, anticipation, what happened and what is to come. It's a sensuous search into stretched out moments, captured and held in one’s hand for a little while. It finds play and devotion, love and light.

Dedicated to Jannis Noya Makrigiannis

Berq präsentiert sein heiß ersehntes Debütalbum! „Berq“ vereint innovative Off-Pop-Klänge mit tiefgründigen Texten und stellt traditionelle Song Strukturen auf den Kopf. Mit Songs wie »Still« und »Heimweg«
ist das Album ab dem 25.10.2024 als hochwertige und limitierte Vinyl mit Pearl Effekt erhältlich.

Originally hailing from The Isle of Wight but now based in West Norwood, South London, Vertical Cat has been releasing tunes since 2001 on imprints like Smallfish, Vice and his own rather wonderfully named Achingly Responsive, but now finds himself delivering seven varied creations for Chicago's Kimochi Sound to issue via the kind of hand-numbered, limited edition run that's sure to get trainspotters salivating like Pavlov's dogs. From the jazz-inflected phrasing, subtle phasing and jiggly sub-bass of 'Go Willy-nilly' to the Mills-esque thumpfunk of 'Oh You Mucky Bugger!', there's a bit of everything here, but every last moment is delivered with quality and clearly perceptible personality. You've also got to love outro track 'I'm Leaving', which soundtracks an awkward call to HR with some nicely cheeky, perky exotica.

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

Repress!

The seventh release on M.A.D Records - label bosses Make A Dance are back.

The El U Vee E.P sees the London duo serve up an eclectic mix of influences from across the board. ‘Cool Girls’ opens with italo arps, gated snares and seductive vocal samples. Title track ‘El U Vee’ follows, blending house heat with a dash of Latin spice. This is a love-song body groover.

Flip it over and find the percussive basement jam ‘Oh Yeah’, before ‘No Way Out’ rounds off the EP with an acid tinged, new beat blend of M.A.D.ness.

Killer wonky modern soul / disco out NYC written by Producer Alan Jones. Rathen than put the instrumental on the flip same as the og, we opted to put a mix with a lower vocal on the B-side, mostly because we wanted a mix to play out ourselves, killer modern 45, do it!

Hailing from the Isle of Wight and steadily building in momentum via a run of stunning singles, Wet Leg are making their much anticipated breakthrough with their debut album on Domino. The duo hit a note between the brooding post punk and new wave romanticism and a spikier pop streak which should find them winning hearts and minds all over festival season. 'Chaise Longue', 'Wet Dream' and 'Too Late Now' have been doing the rounds since the girls signed to Domino in 2021, and it only takes one listen to know they're going to be huge. Razor sharp hooks, singalong choruses and a droll sense of humour are all conspiring to make Wet Leg your new favourite band.

Amazing deep groovin minimalistic anthems! Incl. Tonga Fidan, RAD & Tech Remixes.

Techfui returns with another stand out 12” this summer as label founder Salah Sadeq delivers a refined remix package of the sought after “Hibiki Awa” a track which was initially released four years ago with studio companion Rashed Al Dhaen on their “Locus” release. A partnership that was built during covid restrictions, clicking directly when starting to jam, all whilst enjoying the “Hibiki Awa” Japanese whisky during the extended sessions.

For the tastemakers amongst us, it is great news that the Techfui imprint continues to carry the torch, presenting sleek and classy house music for the dance floor. After many years of producing music together in Bahrain and releasing music, four years on we get to appreciate the masterpiece track once more with this heavy hitting, and eclectic remix package.



The limited, and coloured wax will feature the track receiving a new lease of life from Romanian producer Techu, the ever prolific Tolga Fidan with two refreshingtakes, and Rashed himself steps in for a reshape of the original. Four meandering cuts exploring a multitude of textures ready to make an impression on your record bag. The record also comes in a unique sleeve design from Georgian artist NUMB, and the campaign will also feature a t- shirt design on Everpress seeing the the artists collaborate further.

First new material from UK soul heroes Stone Foundation for over a year. As they head into their 11th studio album due in 2025, this taster of new material shows the band experimenting with new sounds and influences whilst still remaining distinctively Stone Foundation. Mick Talbot (The Style Council, Dexys) joins the band to bring some of his trademark keyboard magic to both tracks.

Strictly limited to 500 units worldwide, don't miss out on what is sure to be another future Stone Foundation collectible.

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

The Windy City label taps Toronto's RAF REZA here for an outer-space experience. On Side A "WHY YOU GOTTA?" delivers a chugging bassline & some atmospheric pads. While on the flip "PINEAPPLE ISLAND" is a Balearic boogie that fits perfectly into a seaside sundrenched terrace

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Brunson debuts on Rekids Special Projects with ‘Intimacy Between Friends’. Discovered in a Mike Banks interview by Benji B, ‘Intimacy Between Friends’ releases on RSPX 18th October.

Brunson’s ‘Intimacy Between Friends’ EP on Rekids Special Projects kicks off with 'Aminal'. Originally discovered via a 2017 BBC Radio 1 interview between Benji B and Underground Resistance co-founder Mike Banks, ‘Aminal’ was played on the show and subsequently sought out by Matt Edwards for release on RSPX in 2024 as part of the ‘Intimacy Between Friends’ EP.

‘Aminal’ by Brunson is a ten-minute odyssey into atmospheric deep techno. Wiggling acidic synth motifs and warm, radiant pads bring the soul to a tight groove, constantly evolving and allowing you to sink ever deeper into majestic chords which wash over you like rays of sunlight. Brunson’s 'My Friend Ryan' is another classic Detroit sound with machine warmth and energetic drum programming, which all work together to make you move your body while your heart is enriched by its vibrant soundscape.

Brunson released his first EP in 2023 via Berlin’s Tresor Recordings but has been active for a number of years before this as a Midwest American and Motor City producer while being the VJ behind Juan Atkins’ Model 500 shows. He now releases the ‘Intimacy Between Friends’ on Radio Slave’s Rekids Special Projects, already supported by artists such as Luke Slater, Laurent Garnier, and Jerome Sydenham.

Not new, but new to us. 6 track EP of "Ghetto House" from Chicago's own DJ SLUGO. Big badass boomin' booty bass beats. Came out last year in 2023. Full pic sleeve.

Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.

Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.

Take Three represented the first project for a creative partnership that would spawn multiple projects/aliases spanning the UK soul, funk & dance scenes, and still continues to this day. With this compilation we showcase for the first time the group's combined output as Take Three, complete with previously unreleased material.

Orphx, Rrose, SHXCXCHCXSH & kareem remixing SOLARIS from kareems 1997 release CICLOP (Zhark00004)

CICLOP was released in 1997 combining a variety of different approaches ranging from Industrial Hip Hop and cinematic ambience to DubTechno. SOLARIS stood out with brutally stripped down minimalism.

Zhark0040 now assembles 4unique remixes of SOLARIS

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

"New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 198 Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, but it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling at the Speed of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. Don't miss out on the opportunity to catch them live as they are touring the globe again. Critical Beatdown (Expanded Edition) is available as a limited edition of 2000 individually numbered copies on green coloured vinyl. It also contains a 4-page booklet with interviews, rare photos and liner notes. "

Critical Beatdown by Ultramagnetic Mc's, released 23 February 2024, includes the following tracks: "Ego Trippin (Original 12” Version)", "Kool Keith Housing Things", "Feelin’ It", "Ain’t it Good to You" and more.

This version of Critical Beatdown comes as a 2xLP. This release comes with (a) Booklet & Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a

"Subluminal" was conceived and recorded during the unique and uncertain period of March-April 2020, when the world was at a standstill. Created using a few analog devices, the album captures the raw and evolving nature of working with feral analog instruments. Electric currents traverse intricate obstacle courses, creating a distinctive and eclectic sonic landscape.

Despite being pressed on high-quality 180g vinyl, the record sat unreleased for four years. The decision to withhold its release was driven by contemplation and uncertainty. However, the time has come for "Subluminal" to see the light of day.

The term "Subluminal" means having a speed slower than the speed of light or existing under light. This concept reflects the album's exploration of how matter bends light, gives space its time, and creates a world through the interplay of sound and light.

"Subluminal" marks my first strictly electronic music project after years of working exclusively with field recordings. This record represents a significant shift in my musical journey and I'm thrilled to finally share it with you. Thank you for your patience and support. Enjoy the sounds of "Subluminal."

The first edition of Era Specific Noise is both an ode to the early 2000s and the debut of a new alias by label founder Richardson. Having spent the better part of his recent memory scouring record stores and consuming more VG+ dance music than is medically recommended, this 12-inch marks a personal shift towards character-filled production without limitation.

Armed with a growing appreciation for the originality and love poured into old-school techno, ESPN001 is the first glimpse into Richardson's fast-growing stockpile of musical weaponry.

We kick things off with "Introductions", the first of two upbeat, vocal-laden pieces of DJ-friendly dance music that make up the A side. A new hardware-focused approach produces whirling, stabbing chords and a groovy baseline to meet the eponymous sample of this track. Up next, "Coming In Hot" which does just that - presenting a cohesion of warm, groovy techno littered with dubby synths and a throwback feel.

On the flip side is a pair of fresh takes reminiscent of the more functional sound of the era - the timeless, loopy techno that powers dancefloors worldwide. There’s nothing quite like finding a hidden gem on the B side! Robotic vocal loopings and a galloping low-end form “Notch”, a warehouse tune completed by a warmer feeling send-off littered with floating pads and a classic Reese bass. Closing out the release is “Synthetic Scream”, a synthesiser in anguish showcasing an almost mournful interpretation of the 909 era, complete with fast, driving percussion and classic break hits.

Welcome to Era Specific Noise - New school old school.

" Utah Saints are one of the most important acts since the inception of electronic dance music. Early adopters of sampling, they brought the artform - used chiefly in hip-hop in the 1980s - into new realms.

" Incorporating rock, dance and hip-hop elements into their music, they scored 5 Top 40 UK singles including 'Something Good' and 'What Can You Do For Me' and a Top 10 album in the space of just two years.
" Out of print since its original release over 30 years ago, Utah Saints' eponymous debut album returns on 2LP - remastered & extended with 3 sought after remixes by CJ Bolland, DJ Misjah and Union Jack. Includes special limited edition mirror board packaging, for National Album Day 2024.

Making his debut on Gated, Bristol-based Wiles brings the breaks across four tough but emotive tracks.
Wiles is a professional sound engineer who came up in the Norfolk electro and free party scene in the 2000s. During the lockdowns in 2020 he crystalised a live hardware setup that eventually became an EP for Batrachian.
But with Yellow Light he takes his sound even further, with washes of spaced out melodicism underpinned by punches of sub-bass and classic rave breaks, intricately programmed and devastating on a dancefloor at the right moment.
It’s atmospheric stuff for sure, with one eye on the future but rooted in the timeless dancefloor expressions of the past.

here are another release on this label!