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'Funky Music Part One' has been our most requested song from the Sons Of Slum 'Music Is the Message' album from 2019 so we've released it on 7". The song is an infectious horn led proto disco dancer that brings joy upon the horns first opening up. The 'Part Two' version sees the group getting down deep and funky as the song takes a change in tempo and direction.

“The combined forces of Frederik Valentin & Loke Rahbek first found a way into the world in 2017 with the album 'Buy Corals Online'. Together they now present 'Elephant', an eight-track album that composes an inquisitive space with it's parts.

The economy of movement across Rahbek and Valentin's new collaborative album makes for a gentle transmission of its abstract intimacies. This presence, which we caught glimpses of on their previous work 'Buy Corals Online', is shaped by the delicate interplay between acoustic instrumentation and synthetically rendered sounds. Hauntingly melodic at times, the album feels like a suite of uncanny lullabies that grant access to realities that can only be found in dreams.

Rahbek and Valentin are always leading us somewhere and showing us something—one piece of the scene at a time, coming and going with different parts of a puzzle that eventually settles into a complete form. And through all this we perceive an inviting restlessness on their behalf, encouraging us to stray further and further into the private space of 'Elephant'. Valentin is perhaps best known for his work in the exquisite atypical pop group Kyo, though his widereaching music and videography practices covertly underpin his flagship projects.

Most recently, Valentin has been working with Yung Lean as both producer on his 'Nectar' album as Jonatan Leandoer127 as well as on their commission for Sweden's Cullberg Ballet. As Croatian Amor, Rahbek has made similar forays into unworldly pop and his work with Christian Stadsgaard as Damien Dubrovnik has been as critical as their cofounding of Posh Isolation.

Modest interventions from processed field-recordings and semi-erupting synths invite you to zoom in enough to hear the human hand. An attention to listening, to how sounds cradle the small movements and gestures that naturally accompany the playing of guitar, piano, and viola, is acutely developed by Rahbek and Valentin.

It's in this way that 'Elephant' persuades us that even small stories unfurl into the most intricate and tremendous of sagas"

From the moment of its release, Iñigo Vontier’s El Hijo del Maiz has become one of the most gripping albums of the moment. With South American and Middle Eastern sounds and his conception of music as ritual, the Mexican DJ keeps electronica in check as a valid mix of influences. The EP El Hijo Del Maiz (Remixes) marks the end of an episode which started, in good company, last autumn on the Lumière Noire label. The second track of his album, Bo Ni Ke, is distinguished by its original - almost implausible - universe, with a Japanese-inflected vocal filter and oriental flutes taking the beats into a crazy trance. Leaning on the 4/4 rhythm, Simple Symmetry’s remix of the track is also very playful (Iñigo Vontier recently remixed Nar for Simple Symmetry). The Moscow duo, noted in particular for the brilliant EP Plane Goes East released on Disco Halal (the Moscoman label which makes the link between east and west), pulls the track over to another - less terrestrial more psychedelic - universe, in their well identified ethno-underground style.

The remix of Bo Ni Ke by Nicola Cruz, French-born Ecuadorian producer, enlivens the track by playing on the sounds of voices and South American percussion. Also present in his fascinating album Siku released a year ago on the ZZK Records label, they overlap with the demonological whims of Iñigo Vontier but also those of Nicolas Jaar, who was revealed to him as he was starting out.

The inaugural track of the album Xu Xu (subject of the previous EP, only released as a digital version) has been remixed by Roman Flügel, allowing a vinyl release of this incredible track. You could pick out the science of this headliner in a million. Flügel has been on the electronic scene since the early days, learning the ropes under the aegis of prestigious labels Playhouse, Dial and Klang.
He has recently enhanced some emblematic tracks signed Daniel Avery, Koze, Âme, Radio Slave and C.A.R. and here once again the pioneer of techno is working miracles to create a more cerebral version of this track.

Concluding the EP with Thomass Jackson, his co-founder of the label Calypso Records, who we will soon be able to find on the compilation / family portrait of the label Lumière Noire From Above Vol. 2, Iñigo Vontier offers up a genre-busting version of the title Marijuana, like an ataxic play time, deliberately smoky for an explicitly licentious title.

After a global trek we're back at base camp with a pair of thrillers from the chiller for your next rumble in the jungle...

Prepare to take a cosmic cruise on the A side with 'Dromedary', a masterclass in daft drum-breaks, Saharan strings and syrupy synth-lines perfect for Arabian nights and disco daze.
This one's been a TD sure shot since our first parties, so it's high time we shared the love boat.

Move to the flip for an interdimensional trip, as TD Transport welcomes you aboard the 'Super Express', a lysergic locomotive burning up the mainline from Mos Eisley to Mumbai.
Linn drum lasers lock into a lurching groove, fuelling the furnace as we blast past Bollywood, take a detour into the Metro Area and arrive right on schedule to save your party.

100% Drum fun guaranteed.

Limited pressing inc. hand numbered insert...

Sublunar Records, the label run by Sciahri and Dagdrom, start 2020 with the second chapter of the trilogy “Corpora”.

Part II involves Svreca, founder of the legendary label Semantica with ìPaganismî. A precisely contoured aural architecture that leads in a psychedelic feeling where all sense of space and time are lost.

Rhyws, known as one-half of the duo Cassegrain and recently releasing two stunning EPs on Avian under his own name, debuts on Sublunar with ìPasajulî. Sculpting highly textured sounds where percussions have the perfect amount of rough and smooth.

The EP is closed by Pris, an artist who has made a career from this style of techno hypnosis across records that represent the very best of modern deep techno. His track ìRustî is a psychedelic odyssey where a melody works its way into the background, but never quite reaches the surface completely.

Container is the project of American noise veteran Ren Schofield, originally from Providence, Rhode Island, and now based in London. Container first appeared at the turn of the decade with a slew of freakish tapes for various small labels. In wake of thesereleases, Editions Mego offshoot Spectrum Spools –run by old friend John Elliott of the band Emeralds –took the punt to release his debut LP, a collection of mutated Techno tracks simply titled ‘LP’.

The record gained attention quickly in the Electronicmusic scene largely thanks to Schofield’s unique production style that separates him from forms of conventional dance music. Whilst the music of Container sits perfectly fine within the genre and is functional enough to blow apart the walls of any club, years on the US noise circuit have given Schofield’s brand of techno a rawness and direct intensity that stands out in the club and crosses over into other sub-sections of the underground.

His modest set up of Roland MC-909, a four-track porta studio and anarray of pedals allowed him to hone his scuzzy and bewildering beat music over the years, leading to three more well received, and literally titled, LP’s. Over this time period Container also released some EPs on Morphine, Liberation Technologies and Diagonal, did a variety of remixes for acts likeFour Tet, The Body, Panda Bear and Fucked Up plus maintained a healthy touring schedule that reached over every continent.

His exhilarating live show has hit pretty much every major electronic music festival andclub in Europe, as well as tours and gigs with a diverse range of acts such as Wolf Eyes, Zola Jesus, Daughters, Pharmakon and Ryley Walker.Almost a decade since his debut, Container arrives on ALTER with his first non-”LP” titled album called ‘Scramblers’. The title taken from both a Baltimore street drug and a Rhode Island Diner he used to eat at with his father.

Schofield elaborates: “The juxtaposition between these two Scramblers is a great one. I wanted to pay homage to a nice name that lends itself to both depraved and wholesome contexts and do my part to carry on the tradition.” The eight tracks have their origins in live performance and a more high-octane delivery is noticeable when compared with previous Container albums.

‘Mottle’ sits in a mysterious zone between the productions of EVOL and early Ruff Sqwad. Fierce electro cuts like ‘Trench’ and ‘Nozzle’ work alongside the nauseous slink of ‘Duster’, which in typical Container fashion morphs into a frenzy in no time.

A frenzy which may be linkedcosmically to the fact that ‘Scramblers’ was recorded, mixed and mastered in one day, reinforcing further his unorthodox and fun approach to club music.

Several years ago, the born under pitches DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world. This will surely be one of the most keenly anticipated disco release of the year. For our second release, we are extremely proud to bring you at last, two very hard to find disco anthems on side A1 & B and one P-funk all time classic on A2 very sought after

Available on vinyl for the first time since its original release in 1984, Outernational Sounds proudly presents Build An Ark pianist Nate Morgan’s second outing for the celebrated Nimbus West label – the conscious and spiritualised sounds of Retribution, Reparation.

Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia (Outernational Sounds OTR- 008), had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the soundworld of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’

First released on digital formats back in 2016, and here now given a richly deserved full vinyl release, 'Holy Science', the debut outing from Amirtha Kidambi and her New York based quartet The Elder Ones, is a work of dazzling singularity. Delicately yet unashamedly divulging its complex network of influences at every turn, 'Holy Science' simultaneously disperses of boundary and limitation, emerging as an album steeped in tradition yet located firmly in the futuristic present.

Amirtha Kidambi, the Elder Ones' leader, composer and vocalist, was a child of South Indian heritage, and she grew up immersed in the tradition of devotional singing, joining in with free-form, improvised Bhajans on regular Sundays. She began simultaneously accompanying her voice with the harmonium from the age of three.

These formative experiences continued to instruct and merge with her ongoing musical explorations as she went on to study Classical music, all the while ingesting the Punk, R&B and Rap that surrounded her. A particularly significant discovery was that of free and avant jazz, and in particular the music of Alice and John Coltrane, in whom Kidambi found clear echoes and parallels with those Bhajans and Ragas of her earliest musical awakenings.

All these influences collide on 'Holy Science', at times as explosive blasts of sky-opening thunder, at others as moments of soothing, meditative bliss. These holy bursts are enacted by Kidambi's assembled musicians and are given permission to explore the science of spiritual alchemy, plundering their individual and collective soul for the sake of musical expression, and all of the unpredictable and profound revelations such an approach might yield.

'Holy Science' is a work underpinned by traditions, be they the Bhajan spirituals, or the Jazz and Classical avant gardes, that are in their own manner, archetypal. But perhaps most importantly, all of these forms contain an inbuilt capacity for discovery and progression.

Amirtha Kidambi's musical pathway has been defined by a studied determination to occupy this specific space, the unbounded realm of improvisation and exploration, summoning the acquired instruments of experience, knowledge, culture and tradition to unlock secrets of the past, present and future. The most cherished music is often remarked upon as having a timeless quality – ancient, modern and futuristic, all at once. And so it is with 'Holy Science'.

Adam ‘Adred’ Baker is an imperative part of the US drum & bass scene, providing a home for its fans amongst the cultural hub of New York City. Alongside his work as a promoter for ‘Natural Selection NYC’, he’s also dropped music on labels such as Metalheadz, Soul:R and 31 Recordings, proving that he’s as multi-faceted as they come.

This is something which shines through on his forthcoming LP ‘KIM’ set to be released on Goldie’s Metalheadz; named after his late father whose Fender Rhodes features prominently in much of Adred’s music and is a central part of his inspiration.

The album is an introspective look at the producer’s history and one which will identify the elements which have made him both such a successful artist and drum & bass event host.

Dublin's Minos makes his debut on DBA with a rich spread of rollers covering the techno and electro diaspora backed by a Claude Young remix. His influences are techno, IDM and metal, from Downwards to Jeff Mills and Drexciya via Slayer. Originally from a live music background, he was converted to techno after hearing Mills play at the now sadly defunct Twisted Pepper in Dublin, and 'Sorry I'm Late' EP will leaves little doubt that it's Detroit's own brand of high energy, sci-fi sounding techno that inspires his work.

Minos has steadily been making moves in Dublin's fertile underground scene for the past few years as both a DJ and producer. He first released music as Urizen on BRW Records and is a part of Dublin collective wherethetimegoes with a number of other local artists. Never one for sticking to the same method, his production setup utilises both analogue gear and software to create music that continues to build on techno's history while looking to the future.

Claude Young Jr. is universally acknowledged as one of the most respected producers and DJ's to come from the legendary home of techno, Detroit. His best known studio mixes include ... AX-033
Claude Young 'Thoughts Of Phutura' (only official mix compilation for Jeff Mills' Axis Records) and his legendary Claude Young DJ-Kicks Mix for K7!

Following the 360-degree drum & bass experience that is ‘Waveforms’, Logistics continues his three-part EP series, linking the sounds of past, present and future on the ‘Headspace’ EP. With seven solo albums, six EPs and several collaborative releases under his belt, Logistics is one of Hospital Records’ most prolific artists. He’s joined by the lyrical extraordinaire Inja and the vocal stylings of family mainstay Thomas Oliver. Opening this four-track EP is ‘Stay True’, a sublime dose of rolling liquid with the workings of New Zealand’s singer/songwriter Thomas Oliver. Atmospheric pads, nimble organ work and graceful harmonies come together for an elegant dose of Logistics’ drum & bass mastery. Following a path of deeper liquid is ‘Rebuild’ with its low rumbling frequencies and super sharp sonics, topped with layers of mysterious atmospherics. On a darker tangent is the title track, ‘Headspace’, rolling and hypnotic, it’s a testament of Logistics’ long-standing ability to carve out timeless, melodic grooves. Switching up the vibe is ‘Brand New Beginning’ featuring the enigmatic Inja. Setting the tone with tranquil hip-hop beats, this nod to Inja’s history outside of drum & bass transitions into an upbeat number, beaming with Inja’s trademark positivity. As one of the most renowned artists in drum & bass, Logistics’ reputation is far-reaching with regular presence across major radio airwaves with support from the likes of the BBC’s Annie Mac, Rene LaVice and Mary Anne Hobbs. He can be found at festivals and events worldwide in 2020 including a main stage set at the forthcoming London D+B takeover, Hospitality Returns To The Dock.

Still deeper forays into the musical landscape of the Windrush generation. A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk. An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.
For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia. Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Riding high on the success of his recent Soul Flip project, Del Gazeebo busts loose here with a pair of Rootsy, rigorously road-tested, certified party starters on his own brand new Art Surgery imprint.

First for a 2020 freshen-up is Barbara & The Browns' sassy, soulful rendition of the Rhythm & Blues and Reggae classic, "You Don't Love Me" - taking the already energetic 1971 recording, stretching it out, and giving it a little something extra in all the right places. Already touted as "one to watch in 2020" on the BBC's Craig Charles Funk & Soul Show & getting support from The Allergies, Smoove & Jalapeno Sound System.

On the flip, Pluto Shervington's 1976 uplifting Reggae smash "Dat" gets a subtle yet crucial lift to make it even more infectious. This sunny, irresistible ear-worm has long been a staple of Del's DJ sets, yet somehow as yet unreleased. Until now; re-refreshed for 2020.

After a year of preparation on new project, we are back to Boogie your Butt again, this time is on a Samm Culley Band reissue. We are happy to bring back to your ears this giant artist, who across decade of music, with great personality had giving us so many groovy songs. Samm Culley is an R&B, Soul & Funk keyboard player, a dope songwriter. His music career started within the band « Tiny Tim & The Hits » with « Tom Price & Bill Collier ». This trio soon left Tiny to form them own group « The Diplomatics » with « Irving Waters » as lead singer. They later on became the legendary « Skull Snaps » (One Lp on GSF Records)… Over The Time Samm co-produced and (or) played with many unforgettable famous artists such as The Fatback Band, George Kerr, Patrick Adams, Vaughan Mason, Reggie Griffin, De-De, Van Mc Coy, Lloyd Price & even later in Hip Hop music with Marley Marl or Freddie Foxxx. Back in 1982, the original issue of the A Side “Walk”, a great killer dance floor tune, the sunny guitar hook make you feel the summer heat Jazzfunk Boogie, came out on a Silver Cloud Records 12inch, this track bring you light shine to dance as a Walk, close your eyes & easily imagine crazy tricks of Jazz Funk dancers, go fly with his sensual voice & let's tripp on sunshine... The B Side is a remix by our well known Lord Funk & his partner Moar, their wishes was to respect the original song, putting on a slight drums & effect. We hope you gonna like that new Boogie Slice!

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

The Flying Luttenbachers’ “Shattered Dimension” is the first offering by the seminal cult band since 2007. It is released on CD and download on March 1st, 2019 via ugEXPLODE Records and on gatefold double LP in April 2019 via the Austrian God Records label. The current New York City based version of the group on this recording features stalwart leader and primary composer Weasel Walter on drums, saxophonist Matt Nelson (GRID, Elder Ones), bass guitarist Tim Dahl (Child Abuse, Lydia Lunch) and guitarist Brandon Seabrook.

This is the long-awaited second installment of the layer series by Eqwel and Jeff Thompson is to soon come. The fifirst release amd all releases that are part of this series is always minimally processed, using less compression with higher sample rates. The primary side has been cut with Eqwel’s original version, which carries on his style of artistic creativity. The track is layed with hard rhythm’d kicks with illustrious soundscapes incorporating sticky basslines. On the flflipside, track one is Eqwel’s answer to a club banging version of the original creation. This track starts strong and ends strong and the events that happen in between is beautiful and uplifting! This is defifinitely a banger for the clubs, that can be incorporated at the peakest of your sets. The fifinal track has been taken from Eqwel’s ” Audio Telemetry EP “. As always, these tracks are recommended to test and push your sound system!

Completing a red hot trio of remix EPs of Calm’s By Your Side album is this final part with Lucas Croon, Cantoma and Gallo and Yuri Shulgin all serving up expansive and mind altering new versions.

He doesn’t release often but when he does you need to listen to Lucas Croon. His unique take on ‘Before Landing’ is a proper dance floor heater to get you on your toes. Once you're there, a gentle rush of rave euphoria tases over you and sends shivers down your spine as old school breakbeats and glowing pads complete the trip.

Elsewhere, long time Balearic pin up, scene hero and all round blissed out boss man Phil Mison has a new album corn gin the spring. Before that, he becomes Cantoma for a timeless version of ‘You Can See The Sunrise Again’ that has bright blue skies and jaunty chords making you move.

Regular label artist homie Gallo is in the form of his life right now - he's resident DJ at Hell Yeah's weekly Balearic night Buena Onda in Berlin, has a growing reputation for being one of the best eclectic selectors in the game and is currently working on compiling the forthcoming BUENA ONDA comp with label head Marco. He gets long legged on his deep cut remix of ‘Sky Color Passing’ which is another killer that slowly but surely works you in a slow motion acid trance.

Completing this most exquisite outing is Yuri Shulgin, a multi-instrumentalist music producer from Tajikistan with credits on Cocktail d'Amore Music. His spellbinding take on 'Ending of Summer, Beginning of Autumn' is a fusion of jazz, leftfield and electronica will have you in a spin and your head lost in the clouds amongst the twinkling stars and cosmic pads.