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Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

Influenced heavily by the metallic and industrial sounds that surround
him at his day job, Veldt (HANDS, Industrial Detroit) channels those
sounds into a rhythmic chamber, filled with electronics that hint to
influences from the Rhythmic Noise, Industrial, and Techno strata.
While residing in Detroit, Michigan, Veldt works closely and in
partnership with Industrial Detroit. Interrupting new circuits with a
purpose

2lanes is proud to announce the next single, TINCTURE/ MY SIMULACRA, from his recently minted label AUTO SHOP. The two-tracker finds the artist both deepening his expansive sound and honing it to weave seamlessly into any DJ set. “TINCTURE / MY SIMULACRA” solidifies the cinematic textures and rusty low-end percussive drive of 2lanes’ earlier releases this year, “Diamond Rain EP'' & “Sid Ranger Redux EP.” Spending much of this past year on the road, 2lanes dove headfirst into the contemporary electronic music world, meeting an array of new and exciting producers, some of which are featured remixers on this release.

On the A side, take a dose of TINCTURE and see just how far the rabbit hole goes. Inspired by raving all night with friends, 2lanes linked with Detroit-based singer AKILLACO for a wild talking track like none other. We all know those moments at the party when both nothing and everything makes sense. You want to be prophetic but you just make everyone laugh. You think about the past, future, & present all at once. This is the ultimate message of TINCTURE, which AKILLACO emphatically points out. The long-winded musing is underlined by a heavy swung style beat that 2lanes fans have come to know well. Frequent 2lanes collaborator Salar Ansari joins the fun for the steamy, guitar-laden Howling Diablo remix that could as easily be played at a forest rave as a sleazy dive bar a la Coyote Ugly. Purelink’s MILLIA reduces the solution to an even dubbier chill out mix that begs to be played in the early mornings.

On the B side, we have the bass-heavy vision quest MY SIMULACRA. Ancient percussion meets modern sub bass–and together, they transport you to a new plane of being. This track also features performances from a few regular 2lanes sonic cohorts. Detroit keyboard prodigy Ian Fink (Scott Grooves Ensemble, Omar S) evokes celestial moments with a memotron solo, and Jonah Baseball (Overtone Series) provides a stargate-sounding break beat. MY SIMULACRA features two amazing remixes. The First is from Baltimore-based club aficionado JIALING and the second is a prime cut of rough and ready machine phunk from Los Angele’s 1morning.

Initially recorded at 2lanes’ home studio over Halloween in 2021, TINCTURE has since evolved to its final form that we see now. The tune has even shown up in sets from electric selectors like Scott Zacharias and Livwutang. The record label features beautiful artistic renditions by Norway-based Sverre Brand, whose work can be found on releases by Priori and Dust E-1.

Gingerblack is a dynamic House Music DJ duo better known as Lilly & Kazan. With classic Chicago House beats Gingerblack are bringing sexy grooves back to the dancefloor while their original Lilly & Kazan moniker stands for trippy dj-sets & productions pushing Cosmic Disco and Indie Techno.

The duo has been enchanting dancefloors at renowned clubs and festivals across Europe while co-founding clubs like “Kasette” in Istanbul, “Christa Kupfer” in Berlin and the beach festival “Bloom” on the Mediterranean Sea.

Lilly's promoter expertise and Kazan's two decades of experience in the electronic music scene as a DJ, producer, and promoter make them a multi-discipline force to be reckoned with. The duo is known for spreading unique joy and passion on stage.

Through one of their club nights Lilly & Kazan made friends with „All That Jelly“ label boss Mr. Fonk who became a resident at their club. In „Christa Kupfer“ they also hosted House music legend Robert Owens, playing unforgettable nights with them. It was a match made in heaven!

Now all four of them have collaborated for this 12“ of the purest oldschool House Music, brought to perfection by the flamboyant prince of Vocal House and remixed by Wareika member Jakob Seidensticker and his producing partner MELINA.

I Talk To Water, the fifth album for Kompakt by Danish producer Kölsch, is the artist’s most personal statement yet. While all the trademarks that make his music so popular and powerful are still present – lush, melodic techno; swooping, trance-like figures; sensuous, shivery texturology – I Talk To Water is also a deep and intimate rapprochement with family and history, a beautiful, finely detailed document of loss and memory, and a tracing of the long, unbroken thread of grief that runs through our lives once we’ve lost those we loved.

The emotional core of I Talk To Water, then, is a cache of recordings by Kölsch’s father, Patrick Reilly, who passed away in 2003 from brain cancer. With time rendered elastic by the pandemic and its associated lockdowns, its sudden, alienating shifts in everyday living, Kölsch found himself reflecting on his father’s passing and ongoing spiritual presence, thinking about how best to memorialise such a significant figure in his own life. Those recordings opened a gateway, of sorts, for Kölsch to move through – a way to bring past and present together and entwine them in a sensitive, poetic manner.

Kölsch’s father was a musician – “touring in the sixties and seventies, in the Middle East especially, he was doing the whole hippy trail, playing guitar, and wrote some songs over the years,” he recalls. “But all in all, he decided to focus on family rather than pursue a musical career.” Reilly kept playing and writing music over the years, though Kölsch hadn’t listened to the material for some time: “I’d never had the guts to listen to it, because I just felt too fragile listening to his voice. It’s such a tough thing to go through.”

During the pandemic, though, Kölsch listened through the fragmented body of work that his father had produced over the years. “I decided I’m gonna finally release my dad’s music twenty years after his passing,” he reflects. “This whole album is about the process of loss, and for me it’s been one of my main driving forces in my musical life, the whole emotional aspect of whatever I’ve done has been based in that feeling that he’s not there anymore.”

Recordings of Reilly appear on three songs across I Talk To Water. His guitars drift pensively across “Grape”, offering a lush thread of melody that Kölsch wraps with clicking, driftwood rhythms and droning, melancholy bass. “Tell Me” is a lovely three-minute art song, a sadly beautiful reflection, minimally adorned with gentle keys and a muted pulse. And on the closing “It Ends Where It Began”, Kölsch lets his father’s acoustic guitar take centre stage for a lament that’s unexpectedly folksy, a guitar soli dream, which Reilly originally recorded in 1996. “He actually recorded it for my first album that never came out,” Kölsch reveals, “and I had it sitting around forever. That is purely him.”

These three imagined collaborations between father and son are poised and delicate. But their relationship also marks the gorgeous music Kölsch has made across the rest of I Talk To Water, from the itchy yet lush “Pet Sound” (titled in tribute to one of Reilly’s favourite albums), the flickering synths and yearning vocal samples that slide through “Khenpo”, the ecstatic shuddering that marks “Only Get Better”, or “Implant”’s slow-motion pans and subtle reveals.

There’s also the title song, where Kölsch is joined by guest Perry Farrell (Jane’s Addiction, Porno For Pyros), singing a mantra for internal reflection: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrell’s appearance brings another timbre, another spirit to the album, aligning neatly with his recent interest in electronic music. “He was completely taken by this idea of talking to water,” Kölsch says, thinking about the ways we collectively lean towards the natural world as a comfort and a listener, a guide through mourning, a way to map out the terrain of the heart. This mapping is something that Kölsch has proven remarkably adept at through the years; dance music for both body and mind, but also both for the here-and-now, and for the hereafter.

“I Talk To Water”, das fünfte Album des dänischen Produzenten Kölsch für Kompakt, ist zweifellos das persönlichste Statement des Künstlers bislang. Während alle Markenzeichen, die seine Musik so beliebt und kraftvoll machen, immer noch präsent sind – üppige, melodische Techno-Tracks; schwebende, tranceartige Elemente; sinnliche, fiebrige Texturen – ist “I Talk To Water” auch eine tiefe und intime Annäherung an Familie und Geschichte. Es ist ein wunderschönes, fein ausgearbeitetes Dokument des Verlusts und der Erinnerung, und es verfolgt den langen, ungebrochenen Faden der Trauer, der durch unser Leben läuft, sobald wir diejenigen verloren haben, die wir liebten.

Der emotionale Kern von “I Talk To Water” besteht aus Aufnahmen von Kölschs Vater, Patrick Reilly, der 2003 an Hirnkrebs verstarb. Durch die Pandemie und ihre damit verbundenen Lockdowns, die plötzlichen, entfremdenden Veränderungen im Alltag, fand Kölsch sich in Gedanken an den Tod seines Vaters und seine fortwährende spirituelle Präsenz wieder. Er überlegte, wie er eine so bedeutende Figur in seinem eigenen Leben am besten verewigen könnte. Diese Aufnahmen öffneten ihm sozusagen ein Portal, um Vergangenheit und Gegenwart miteinander zu verbinden und sie auf sensible und poetische Weise zu verweben.

Kölschs Vater war Musiker – “er tourte in den sechziger und siebziger Jahren, vor allem im Nahen Osten, auf dem Hippie Trail, spielte Gitarre und schrieb im Laufe der Jahre einige Songs”, erinnert sich Kölsch. “Aber alles in allem entschied er sich, sich auf die Familie zu konzentrieren, anstatt eine musikalische Karriere zu verfolgen.” Reilly spielte und schrieb jedoch im Laufe der Jahre weiterhin Musik, obwohl Kölsch das Material lange Zeit nicht angehört hatte: “Ich hatte nie den Mut, es anzuhören, weil ich mich einfach zu zerbrechlich fühlte, seine Stimme anzuhören. Es ist so schwer, das durchzustehen.”

Während der Pandemie hörte sich Kölsch jedoch durch das fragmentierte Werk, das sein Vater im Laufe der Jahre produziert hatte. “Ich beschloss, die Musik meines Vaters zwanzig Jahre nach seinem Tod endlich zu veröffentlichen”, reflektiert er. “Dieses ganze Album handelt von dem Verlustprozess, welcher für mich generell eine der Hauptantriebskräfte in meinem musikalischen Leben ist. Der ganze emotionale Aspekt von dem, was ich getan habe, basierte auf dem Gefühl, dass er nicht mehr da ist.”

Auf “I Talk To Water” sind Aufnahmen von Reilly in drei Songs zu hören. Seine Gitarren ziehen nachdenklich durch “Grape”, bieten einen üppigen Melodiefaden, den Kölsch mit klickenden, treibenden Rhythmen und dröhnendem, melancholischem Bass umwickelt. “Tell Me” ist ein schönes dreiminütiges Kunstlied, eine traurig-schöne Reflexion, minimal geschmückt mit sanften Tasten und einem gedämpften Puls. Und auf dem Abschlusstrack “It Ends Where It Began” lässt Kölsch die akustische Gitarre seines Vaters im Mittelpunkt stehen, ein überraschend folkiger Klagegesang, den Reilly ursprünglich 1996 aufgenommen hatte. “Er hat es tatsächlich für mein erstes Album aufgenommen, das nie veröffentlicht wurde”, enthüllt Kölsch, “und ich hatte es ewig liegen.”

Diese drei erdachten Kollaborationen zwischen Vater und Sohn sind ausgewogen und zart. Aber ihre Beziehung prägt auch die wunderschöne Musik, die Kölsch im Rest von “I Talk To Water” geschaffen hat, angefangen bei dem nervösen, aber üppigen “Pet Sound” (benannt als Hommage an eines von Reillys Lieblingsalben), den flimmernden Synthesizern und sehnsüchtigen Vocal-Samples in “Khenpo”, den ekstatischen Erschütterungen in “Only Get Better” oder den langsamen Schwenks und subtilen Enthüllungen in “Implant”.

Es gibt auch den Titelsong, in dem Kölsch von Gast Perry Farrell (Jane’s Addiction, Porno For Pyros) begleitet wird, der ein Mantra für die innere Reflexion singt: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrells Auftritt bringt eine weitere Klangfarbe, einen weiteren Geist in das Album, der gut zu seinem jüngsten Interesse an elektronischer Musik passt. “Er war völlig fasziniert von der Idee, mit Wasser zu sprechen”, sagt Kölsch und denkt darüber nach, wie wir kollektiv zur Natur als Trost, Zuhörer, Führer durch die Trauer neigen, um die Gelände des Herzens zu kartieren. Diese Kartierung ist etwas, in dem Kölsch im Laufe der Jahre erstaunlich geschickt war; Tanzmusik für Körper und Geist, sowohl für das Hier und Jetzt, als auch für das Leben danach.

The 1973 album “El Violento” was the fifth full-length salsa LP led by Julio Ernesto Estrada Rincón, aka Fruko, and the second credited to Fruko Y Sus Tesos. Though it did not contain hits like ‘A la memoria del muerto’ or ‘El Preso’, it’s a collector’s item today in places like the US, Europe and Japan, perhaps precisely because it is obscure yet full to the brim with unrelentingly hard and heavy salsa bangers that never let up from start to finish (hence the title, which translates as “The Violent One”). A mix of originals and interesting covers, the LP is “all killer and no filler”, purposely designed to set the dance floor ablaze. It features Fruko’s two main vocalists that took over from the first pair of Humberto “Huango” Muriel and “Píper Pimienta” Díaz, namely the beloved duo of Álvaro “Joe” Arroyo and Wilson “Saoko” Manyoma. Los Tesos were a talented “wild bunch” who listened to their fearless leader, with Fruko holding down the bottom end on electric bass, Hernán Gutiérrez in the piano chair, the Villegas brothers on hand percussion (Jesús tickling the bongos and Fernando slapping the congas), augmented by Rafael Benítez on timbales and an ace horn section of Freddy Ferrer and Gonzálo Gómez (trombones) and Jorge Gaviria and Salvador Pasos (trumpets). The super aggressive sound comes directly from the South Bronx playbook of Willie Colón. The snarling trombones and soaring trumpet are somewhat sweetened by a nice little Puerto Rican cuatro guitar solo. Sonically lightening the mood somewhat, ‘Nadando’ (‘Swimming’) is a bouncy tune in the ‘Mercy’ genre (basically a hybrid of pop, funky soul, cumbia and salsa, in the style of Nelson y Sus Estrellas), gleefully sung by Joe Arroyo. The beats are complex and ever changing, with a little bit of mozambique, conga, bomba, jala jala and of course salsa thrown in for good measure. The side closes out with a brilliant, uptempo salsa reworking of the venerable ranchera chestnut, ‘Tú, sólo tú’. Side two explodes with the frenetic descarga jam session ‘Salsa na’ ma’—which is exactly that: nothing more than the hottest “sauce” to make the dancers go crazy. Fruko’s tune is dedicated to the Latin community in New York that listens to salsa from everywhere and dances to it so fervently on the weekend. The relentless percussion propels the listener along at breakneck speed as if hurtling down the Bronx Expressway, demonstrating that Fruko y Sus Tesos have mastered the ‘violent’ form of urban salsa that was having its transnational moment in the early 1970s. While “El Violento” may not be as well known as some Fruko records, it certainly deserves a new look and should be assessed on its own merits as a very powerful, confident entry in the historical evolution of Colombian salsa dura.Sleeve

Written during a month-long residency with Intonal Festival in Malmo in 2019 and later recorded at The Glue Factory in Glasgow, Dappled Shade is Total Leatherette’s fourth album.

The tape comes in a limited edition of 50 Smokey Grey Hub Tapes with a Risographed paper sleeve. Recorded by Richard McMaster and mastered by Sam Smith.

If your favourite word is ‘harder’ then this one is for you

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

Allpa Puruma is a staple within the Latin American techno scene. This EP is nothing but incendiary hurricane whirlwind tracks…speckled with samples from the junglescape, full of hardgroove velocity.

In short: Four dancefloor bombshells (with a B2 to level you out) by a rising South American techno wizard. Tough tools to recalibrate your mind and ass to access the euphoria you need to set yourself free.

4/5 REVIEW IN SHINDIG! ''Incorporating afrobeat and a more spiritual sound in amongst its heavy beats and super-tight musicianship''

As pioneers in the burgeoning modern funk scene of the '90s The Poets of Rhythm created new standards, transcending the parameters lesser groups were defined by. With Discern / Define the Poets took their brand of classic funk to the next level by blending elements of rock, psychedelia, afro-beat, jazz and heavy, heavy drums to create a wholly original brand of transcendent, funky soul.

Anyone who has tried to cop an OG in the last twenty years knows how difficult of a task that has proven to be - not necessarily due to rarity, but more to the fact that people simply DO NOT get rid of this album. It's a testament to the fact that Discern / Define has no shelf life. It's a bonafide classic that any discerning funk and soul fan must have in their collection. Now sporting a deluxe gatefold jacket with reimagined artwork, it is an honor to get these back on the shelves of a record shop near you. Cop one today!

"They have the unique power of being able to depart from tradition in order to bring advancement music and unsuspecting listeners, yet still please the purists with home-cooked "Funk-of-Ages" values"
- Lyrics Born

Kay-Dee Records is coming at you with a 45 double-hitter, presenting Bert Hector’s ‘The Phoenix’ and ‘The Kraken’ with Kenny Dope on remix duties.

On the first record, we’re treated to ‘The Phoenix’: a sure-fire funk gem with a super warm sound. The beat is as cool as it gets, with a laid-back and funky attitude, sitting beneath a joyous intermingling of sitar, flute, brass and guitar - all performed at expert levels.

‘The Kraken’ has a killer groove, struttin’ along at 85 bpm with a real old-school sound on the beat. Joining the breaks is a huge brass section which pumps loud, while flute solos and funky Wah-wah guitar chops take things up a notch. This is a pure, unadulterated groove.

Der Londoner DJ/Kurator Sam Don hat mit seinen Comps 'For The Love Of You' neues Licht auf das Reggae-Subgenre des Lovers Rock geworfen. Seine tiefgründigen, aber zugänglichen Tracks haben vielen die Ohren für das Genre geöffnet. Mit der neuen Compilation 'Just A Touch' strahlt Sam seine Fackel auf den UK Underground Soul aus und präsentiert nach sorgfältiger Recherche einige der süßesten Soul-Schnitten aus dem UK. 'Während die USA vor allem für Soulmusik bekannt sind, hat Großbritannien aufgrund des Schmelztiegels der Kulturen und Musikstile seine eigene Sicht auf das Genre geschaffen.' - Sam Don

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

Top Boy is the British television crime drama series, created and written by Ronan Bennett. The story follows two seasoned drug dealers return to the gritty streets of London, but their pursuit of money and power is threatened by a young and ruthless hustler. It stars Ashley Walters, Kane Robinson, and the

2020 BAFTA Rising Star Award-winning Michael Ward. The first two seasons aired between 2011 and 2013, but following interest from rapper Drake, Netflix announced in 2017 that it would revive the series. Co-produced by the Hotline Bling-rapper, the third and fourth season of Top Boy launched in 2019 and 2022.

In the captivating Netflix series Top Boy, Brian Eno’s transcendent music serves as a vital companion, molding the narrative’s essence with its ethereal power. With a masterful touch, Eno’s atmospheric compositions effortlessly transport us into the gritty world of crime, friendship, and survival in East London. From delicate ambience to pulsating beats, his sonic tapestry envelops every scene, elevating the storytelling and evoking a range of emotions. Eno’s singular ability to capture the struggle, hope, and inner strength of the characters accentuates the raw authenticity of Top Boy, leaving an indelible mark on its viewers. His haunting melodies and intricately crafted soundscapes symbolize the unyielding resilience amidst chaos, making Brian Eno’s music an integral and unforgettable component of this groundbreaking series.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

POH (Point of Hue): It’s all about colors. Closet Yi sees the world in vibrant hues, as a sonic exploration of her kaleidoscopic vision. Seeing herself as more of an observer than a doer, she testifies her unique perspectives of the world in each track with all different hues and emotions.

Instinctively catchy and affecting, the four track dance EP is full of intricate textures, unexpected harmonies, and subtle sonic flourishes that reveal themselves with each listen. Written and mixed in her hometown, Seoul, the infectious EP is a collective of warm, floating yellow purple molecules in the air with introspective shades of cobalt and sage.

As much as she has a wide spectrum of taste, Closet Yi cements her core to its place where the most exciting and new coming artists are now.

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

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

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

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

The latest Greyscale vinyl release is here and is destined to be a dub techno club staple. Featuring one of the best current dub techno producers in Federsen. This physical release is jam packed with club tracks as the flip side features remixes by the amazing Deadbeat and our own grad_u.

Federsen is elite with making catchy grooves like in the first featured track 'Penumbra'. The hypnotic sounds work terrifically in unison to form one of the most seductive tracks we have heard recently. Subtle movements and engrossing tribal rhythm make this a sure-fire dancefloor groover.

'Viridis' focuses more on the melodic chord side while it balances a wonderful deep dub bassline. Spatial and hypnotic are words that come to mind when we heard this for the first time. This is one of those tracks you sway and close your eyes too. Pure dream state stuff.

Deadbeat's dancehall dub Penumbra is magic. This has classic stamped all over it. The Dancehall description might put some classic dub techno fans off. Just come listen and experience this unique song. You just can't deny this! Sick.

Knowing that he is sharing a side with legendary Deadbeat, grad_u puts some extra muscle into his remix of 'Viridis'. Flighty and techy, we just love this futuristic fast-moving sound and we can't get enough of it. An awesome way to end the record.

Also, for an extra treat, there will be a 2 special remixes by Basicnoise of each main track added as bonuses to those who purchase the vinyl.

Greyscale vinyl #11 is sure to be one of the hottest techno records out this year!

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Purple Disco Machine & Lorenz Rhode Remix

Club U Nite Records presents 'Purple Kush': A Captivating Journey through Energetic House and Reggae Dub Fusion

Named after the renowned cannabis strain, 'Purple Kush' exudes a captivating blend of energetic house tracks and relaxing reggae dub elements.

On the A-side, prepare to be enchanted by the groove of 'Let The Spirit Flow.' This track's driving beats, pulsating rhythms, and deep house organ theme create an irresistible dancefloor anthem that will elevate the energy of any party.

Continuing the sonic journey on the A-side, 'La Bahia' takes us back to the roots of old-school house music. With its addictive organ riff and swing beat, this song instantly transports listeners to a nostalgia-laden dancefloor where the vibe is contagious.

Flipping the record to the B-side, 'Make Your Mind Up' keeps the momentum going with its pumping beats and soulful vocal samples. This track demands to be heard on a club's sound system, as it kickstarts an infectious dance atmosphere that will keep party-goers moving until the early hours.

Rounding off the vinyl, 'Purple Kush Theme' takes us on a mellow yet captivating journey. Seamlessly blending house vocal samples with the laid-back vibes of reggae dub, this track presents a refreshing fusion that invites listeners to let loose and unwind.

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From LUXXURY’s infamous edit series, these long sought after tracks are finally getting a proper release in this new limited series. 'Never Gonna Dance Again?' is a hopeful look to a post pandemic world, blending a well known blue eyed soul vocal with a bassline straight from Paradise. 'Black Curtains' is a deep cut cover of an AOR classic, while 'Black Magic Reaper' is a gloriously slow, psych disco haze. 'We’re All Gonna...' loops a sleazy French jazz disco B side with a vocal sample from a Purple guest.

After shaking up the dice across global festivals and club dancefloors last summer, Albion Collective reinvigorates Yoofee’s instant classic, Seek & Move, in a brand-new remix EP featuring Mystic State, Molokai and K-lone.

Mystic State fires up the engine with his remix of Seek & Move, alchemising Yoofee’s rapid kinetic energy into pure steamrolling pressure. The intro mischievously echoes the original, imbuing the drop with a strike of surprise when Mystic State’s stripped back, sub-loaded weapon fires in place of the classic.

Molokai keeps the motor revving with powerful, in-your-face sound design built for the heavy steppers. Zapping, buzzing, and fizzing robotic delights spark and pop throughout Molokai’s grungy yet groovy retwist of Yoofee’s Seek & Move.

K-lone serves up a signature sweet ‘n’ tasty edit of Make You Believe, realigning the original B-side’s focus from its organic soulful keys to its endlessly elevating electronic arpeggiation. What was once bathed in reverb, serving as a glimmering skyline to the gorgeous memory palace of Make You Believe, becomes the unblurred protagonist bleeping and blooping its way through a high-rise city of slick trap rhythmics.

Albion Collective is proud to welcome these fantastic artists to the label and present their brand-new viewpoints on Yoofee’s Seek & Move Remixes EP.

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Since ancient times tribes commanded by shamans were experimenting with rituals in order to inherit higher states of consciousness.

We as descendants from those cultures disrupted their traditions by recording those sounds and reproduce it through a speaker. Although the principle remains intact.

AIROD and P.E.A.R.L. Are two contemporary artists well aware of that culture, as you can here through the 6 tracks of this EP that in good hands can catalice the ecstasy through repetitive drums, deep vocals and grinding melodies.

Every science starts as philosophy and ends as art.
Tribal science, for disc-jockeys and collectors.

To Celebrate their 3rd anniversary Berlin’s Pure Hate Trax hand the
reigns to resident artist Slave To Society. Andrew Bowen aka Slave To
Society provided the debut EP on the label with his now infamous ‘Path Of Self Destruction EP’ which also featured a remix from UK Techno pioneer Perc. Since then Andrew has gone onto release on some key labels including PI Electronics, Scuderia, Natural Selection, PRSPCT & his own self titled Slave To Society imprint. This time on remix duty Birmingham born Berlin based Rebekah steps up to remix lead track
Thrown To The Wolves. As one of the most respected figures in the
world of hard-edged Techno, Rebekah has carved out an infallible
reputation as a consummate artist and has established herself as one
of the leading UK exponents of the sound currently operating on the
global circuit. With 3 Experimental, Industrial, Breakcore originals
packed full of Esoteric Noise, Distortion and Breaks with a straight up
Hard Techno/Hardcore floor focused remix, Pure Hate Trax stamp their
intent as they move into the next chapter. PH006 is available in stores
from 23rd August 2023, distributed by Ready Made Distribution, Berlin.
Mastered by Joe Farr. Artwork by Slave To Society.



c B1. Thrown To The Wolves Rebekah Remix

Kharkiv born artists Komponente & Kurilo have been an integral part of the local scene in the past years both as DJs, Live-Act and Producers.

Now further apart since the beginning of the war they are still united in music and we are happy to finally share this EP with which was originally conceived when both artists were still Kharkiv based during the pandemic.

Kurilo has since made the journey to the New York via Berlin in recent months. While Komponente took refuge in Kyiv for some time after having sat out most of the fighting in and around Kharkiv while lending a helping hand to families and elders who couldn't manage or didn't have the means to leave the city when russia attacked.

At this point we are just happy and thankful to have both of them still with us and to be able to finally get this EP out which by now seems to have travelled from a past life to us in the here and now.

Pandemics or War this is Electronic Music charged with pure emotions produced during one crisis, released during the next and we will still dance to it during whatever comes next!

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

E.R.P. is back with 4 electro cuts drenched in soul, machine funk and style. Pure E.R.P. dopeness

The colossal Caposile Music strike once more with a heavy hitting house EP. This sought after summertime jam comes from resident and long time family member, Maggio. The flourishing Italian talent enforces the driving force that is After Caposile with three driven and animated grooves for the peak hours of the party. Accompanying him with a stellar remix is acclaimed live performer and producer, Vitess, the Frenchman showcasing his consistent sound, living up to the Caposile ethos with great effect.

This is “Discoline”.

Title track “Discoline” cruises on an irresistible elastic groove, shimmering synths and pads shine bright, breathing life into the rolling structure of the track. This one living and breathing a pure and infectious summer time energy. Packing a serious punch is “Vertigo”, built upon crisp drum arrangements and another dynamite bass line for the heads. If you are looking to go up a gear on the floor then you are in the right place.

On the B side Maggio’s “Outer Space” leads the way. The aptly named track prepares you for lift off with its distinctive chugging, sub heavy bass. Sprinkles of spaced out vocals tease you down a path of curiosity. Vitess rounds off the EP with another recipe for dance floor frenzy in his remix of “Discoline”, playful yet effective frequencies to ignite the flight, an essential for the record bags of many in the coming months.

CPSL005 lands off the back of the “Sound Of Garden” volumes 1 and 2, and with this latest addition to the catalogue it ensures the label and club continue to cement themselves at the forefront of the scene for underground minimal and house, continuing to spread like wildfire. Become part of the Caposile family this summer with some sincere day time action from within their circle.

Remastered reissue of another stone cold New York club classic from the legendary
SAM Records label - home to so many fabulous disco/boogie recordings from the
1980s.
• Pure early 80s electronic disco joy for the packed, sweaty dance-floors. A true boogie
classic, a huge club hit that got spun from The Garage to the streets of London.
• Not much is known about Komiko, an undercover studio outfit that featured guest
vocals Carol Williams, Tracey Weber and Vicky D. This single is their sole release.
• Remastered by Phil Kinrade and presented in a 7” Discobag sleeve.

On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.

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A blistering collection of ska tunes from Clement 'Sir Coxsone' Dodd's legendary Studio One Records, Jamaica's foundation label of reggae music. Featuring classic cuts from the originators of Ska - The Skatalites, The Wailers, Lee Perry - alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure Ska Fever !

Soul Jazz Records new Studio One Ska Fever returns back to the early 1960s when Ska was the soundtrack to Jamaica's Independence and Sir Coxsone ruled the land and The Skatalites and Studio One were creating history on a daily basis with an endless stream of blistering, scorching classic tunes.

This album includes an incredible line-up of only the finest artists in reggae music, including Roland Alphonso, The Gaylads, The Ethiopians, Don Drummond, Jackie Opel and many more. An all-star cast from Studio One, as Chris Blackwell famously noted, the 'University of Reggae'.

The accompanying booklet contains extensive sleeve-notes from Studio One historian Rob Chapman (author of Never Grow Old and Downbeat Special), with information on musicians, tracks, label scans and more. Soul Jazz Records' Studio One Ska Fever is released in
CD- jewel case, 24-page booklet with card slipcase, as well as a heavyweight double-vinyl edition in deluxe strong gatefold sleeve (with full sleeve notes).

Pluto’s Plan is back with another carefully selected four-tracker EP, featuring Man/ipulate, Marcos Coya, Existencia Pasajera & Mati F, and Lorenzo Slider. Hard-hitting grooves and pure nostalgia guaranteed.

Here we are - the new release from the italian project Club Soda is finally here!

The trio, made up of Nicola on bass, Simone on drums and samplers, and Filippo on keys, is bringing some real, raw, authentic sounds to the table. Their first LP, "Vibin' Places" dropped in 2020 and it's a versatile homemade electronic album that hits different, whether you're a listener, DJ, or clubber.

This new EP is fire too. A1 track "Basso e Batteria" with Sara Loreni on lyrics and vocals, has clear echoes of a '00s vocal-house joints, but sounds like it was recorded in a Chicago basement. The dirty grooves, thumping bass, and enveloping pads create a free-form vibe that's perfect for you summer madness.

But then they go and take it to the next level with the remixes on B side. Cristalli Liquidi's remix is on some current dance floor-ish, with bouncing rhythms, a wild bassline, and a catchy vocal cut. And Hill's dub mix is straight up trippy - like you're lost in a warehouse at 6am, with dreamy pads, a solid bassline, and rhythms that are distant but still pull you in.

And let's not forget "Gin Tonic" (A2) - it's a dope sunset jam session that's pure “Club Soda style”, with congas, DX7 keys, funky bass, and an MPC chop. This EP is the real deal, from start to finish! Shout out to Giulia Dall’ Ara for the sick artwork on the cover and label too - she killed it!

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2x February Griessmuhle closing party, it was a Monday during the day I had a hard weekend but I know the last party from Griessmuhle is still running (one day longer already) I ended up playing that night because Tham made the closing with the other synoid resident Acierate in B2B. We ended up doing an eternal afterparty at my place until Wednesday morning when he showed me this track and immediately closed it for KAOS.

Following this iconic moment in the history of contemporary Berlin club culture. Alexander Repro strikes the third tune on KAOS being the first one to made it to such a number. This techno-trance cinematic bomb will make the basements and warehouses shake whenever they let us rave in them. The Soundtrack for the post-corona movement that we all hope is about to come.

Stealing the show with his first appearance, you may have heard of him with his continuous prolific bomb outcome in Lobster Theremin, his classy Eurodance edits or his mighty U4E compilation. One of the most talented out there right now. And we will hear much more from him soon. Warm welcome to Julian Muller with a song dedicated to his mother Nancy. Keep the fire bro!

Closing the record, one of the classiest of its kind, Binary Digit post-melancholia around 150BPM acid that will make you feel as hopeful as happy and as sad. Feelings overload.

In pure Herrensauna fashion, wearing DIY decolored pants I type: "this is bleached punk" for disc-jockeys and collectors.

In both friendship and music, Bart Skils and Weska are an inspired combination. Their third EP on Drumcode ‘Something More’ continues their collaborative purple patch.

A transatlantic connection that’s so far birthed the excellent ‘Polarize’ and ‘Shades of Summer’ EPs, plus a remix of the Sven Väth classic ‘Spectrum’ under his Metal Master alias on Cocoon, Bart Skils and Weska are gradually developing into one of techno’s most exciting partnerships.

‘Something More’ continues their on-point production flow. The title track is destined for festival stages, mixing up sharp drumlines, celestial pads and a soaring male vocal that balances the wistful and euphoric on a knife’s edge. Meanwhile, ‘Palm Strings’ is a sleek beast, as rolling percussive loops rub shoulders with an atmospheric melody line before a powerful bass riff takes the energy up to eleven.

Join us as we explore the electrifying second release from Amsterdam's Locked-In label. Noiro and Riku Sugimoto combine their talents in the vibrant EP titled "L8 M8," taking us on a thrilling journey through the realms of house and techno. The EP opens with Noiro's captivating track "Viens Dormir," instantly igniting a dancefloor reverie with its infectious grooves. On the A2 Riku delves deeper underground with "City Sleep," intertwining trippy vocal samples with punchy drums and pulsating bass tones. On the flip we have "Semicircular," where Riku creates a mesmerizing soundscape with evolving recurring motifs. Finally, Noiro concludes the EP with the sonic gem "Hey Man," embodying the spirit of the dancefloor and setting the stage for a night of pure bliss.

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One of the gems on the smash hit album 'Soulmatic', Purple Disco Machine & Boris D'Lugosch's, 'Love For Days' gets the remix treatment three ways.

First up the master Kenny Dope - crisping up that shuffling rhythm with some added percussion and synthesiser arps to turn what was already a peak time soulful anthem, into a close to 8 minute extended journey drawing you in more and more with each build up and breakdown. Next up the PDM offers up an extended mix of the original, a welcome sight for those DJs on the club scene who have been rinsing this since the album dropped last year.

Finally, Motez takes you into raunchy, r&b tinged, garage territory, really honing in on Karen Harding's incredible vocals whilst incorporating brooding pads and sweeping fx's to create a special twist on the original.


DJ Support:

Aeroplane (Aeropop / Eskimo Recordings), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Autograf (Counter Records), Treasure Fingers (Psycho Disco! / Fool's Gold), Malente (Southern Fried Records), Satin Jackets c/o (Eskimo Recordings / N.E.W.S.), Eric Sharp (9G Records), Gregor Salto c/o (Spinnin' Records), DJ Blake Jarrell (Armada Music), Jerome Price (Throne Room Records), DJ Licious (Spinnin' Records), Travis Emmons (Weapons Music), Electronic Youth (KMS), Solidisco (Fool's Gold / Ultra) :: Mark Knight c/o (Toolroom Knights), Mike Mago (Boemklatsch), Muzzaik (Spinnin' / Toolroom), The Disco Boys (We Play Music), Trevor Mac (Jalapeno Sound System), Ferdinand Weber (Spinnin' Deep), LCAW (Ultra), Plastic Plates (Sweat it Out), Mark Lower (Nurvous), Don Diablo c/o (Axtone / Spinnin' Records), Eton Messy, Après (Love & Other Records), Spada (Ego Music / Hysterical), Eelke Kleijn (Spinnin' / Suara), Horsemeat Disco (Strut Records / K7! Records), Horsemeat Disco (Strut Records / K7! Records), Adriana Lucia (Get Physical), Broc Roc (Dj B-Roc of The Knocks), Chordashian (Mullet Records), Hector Romero (Saw Recordings), Just Kiddin (Nervous Records)

Idris Elba c/o (Connaisseur Records / 7Wallace), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Shiba San c/o (Suara / CUFF), Malente (Southern Fried Records), Rudimental (Asylum / Big Beat), Sirus Hood (Under No Illusion / Dirtybird), Marc Spence (This Ain't Bristol / Skint), Martin Solveig c/o (Spinnin' Records), Horsemeat Disco (Strut Records / K7! Records), Riva Starr c/o (Hot Creations), Mike Mago (Boemklatsch), Kokiri (Love & Other), Fred Falke (Work It Baby Records), Claptone c/o (Exploited), Roger Sanchez (Stealth Records / Astrx), Don Diablo c/o (Axtone / Spinnin' Records), Icarus (FFRR / SubSoul), Pezzner (Dirtybird), Jourdan Bordes (Phonetic Recordings), Mahalo (Toolroom / Bunny Tiger), AC Slater (Night Bass), Chordashian / Felix Feygin (Mullet Records), Fei-Fei Wang, Kristina Sky (Ultra / Armada), Thee Cool Cats (Toolroom / Bunny Tiger), Solidisco (Fool's Gold / Ultra), Infected Mushroom c/o (HOMmega Productions), DJ Blake Jarrell (Armada Music),Travis Emmons (Weapons Music), Human Life (LIFEX / Exploited), Treasure Fingers (Psycho Disco! / Fool's Gold), Hector Romero (Saw Recordings), and Danny Howard (BBC Radio 1 / Nothing Else Matters)

Australian producer JXTPS brings his deeply heady and unquestionably groovy techno to Palinoia with his Hypogean EP. Having previously released on Planet Rhythm and Voodoo Down (and sending me other tracks for a few years now), this four-track vinyl is purpose-built to melt brains and move feet on all dancefloors. While the A-side keeps it largely functional, funky is the star of the flipside.

After 13 years from the last release on Touch And Go records the Italian underground rock band UZEDA is back with Quocumque Jeceris Stabit. Eight new tracks in pure Uzeda’s Style.

Recorded and mixed by the beloved friend Steve Albini and mastered at Chicago Mastering Service by Bob Weston. A masterpiece!

After 13 years from the last release on Touch And Go records the Italian underground rock band UZEDA is back with Quocumque Jeceris Stabit. Eight new tracks in pure Uzeda’s Style.

Recorded and mixed by the beloved friend Steve Albini and mastered at Chicago Mastering Service by Bob Weston. A masterpiece!

Following releases on Love On The Rocks and Pinchy & Friends (the massive 'Leave Your Life' and 'Strings of Eden' which now goes for big bucks on Discogs) Alex Kassian arrives with the first release on the new label from the Test Pressing team.

Lead track 'Voices' arrives in three mixes that run from an expansive journey, to a pure club version, followed by the ambient excursion 'Lifestream' - an electronic piece focussing on what Alex does best, quality production with amazing sounds and melody. This is the first in a three part series of Alex Kassian releases building to an album next year.

Emotive sweetness from the one they call Gratts, coming correct via those ever-reliable purveyors of all things house, WOLF Music. Two dream-state gems from the Belgian-born, Australia-based DJ and producer, complete with a signature, deep and delectable remix from one of Dublin’s finest exports Glenn Davis.

On the A, ‘Pretty Lights’ is a bittersweet saunter beachside, sun setting in the distance, bass striding beside as keys dance across the horizon. A melancholic narrative over a blissful groove, Brandon Markell Holmes’ heavenly vocals add an undeniable elegance to proceedings, combined with Leïto’s deft touch on the keys. Subtle house music with soul from a producer that’s been toiling away for nearly 25 years.

Flip it to find ‘Polaroids’, a late-night trip across the underground with Tee Amara leading the way. Her sublime vocals are laid over a bumping, piano-laden beat, bit-crushed synths and all. A track that keeps that distinct soulful thread, yet laces it with a club-ready dose of the good stuff.

Glenn Davis then rounds off the package laying down a remix of ‘Polaroids’ that hits in all the right spots. A deeper journey, that sees Davis reworking the drums, dousing it in ethereal pads and dreamy synthwork, elevating Amara’s vocals to stratospheric heights. One for the dancers and romancers.

Fractions are back with "Dimension X," a release that signifies the beginning of their new music label, NRG TRAX. This release is a statement of purpose, cementing the duo's signature high-energy sound and 00s aesthetics.

"Dimension X" takes listeners on a sonic journey through the duo's musical influences, showcasing their love for The Prodigy-inspired infectious leads and breaks, EBM-infused basslines and fast-paced tempos that are dominating the current club scene. Paying tribute to their previous two releases on Dax J's Monnom Black, this release marks the start of a new era for Fractions as they continue to push the boundaries of uncompromising club music.

Get ready to be transported to another dimension.

Edition of 500 copies. Comes with download code and insert.

' Funkadelic touring the vast Caribbean coastline of Venezuela, together with Afrosound and Grupo Bota, with endless supplies of Aguardiente and other substances, in a “Back to the future” setting. ' ....?

Lola's Dice's debut album is the result of a radical musical transmutation, marked by the phenomenon of massive Venezuelan emigration. The songs contained in "Pura maldad" expose the current point of that process with amazing detail. Rhythms that were considered exclusively "traditional" and almost untouchable back home (Tamborera, Gaita) get twisted, stretched and pushed beyond any imaginary limit, while being combined with healthy doses of Disco, Funk, Electro, Techno and their Caribbean counterparts, Merengue, Salsa and Compass.

Having taken their first steps in the key of Funk-Rock, things first took a turn after the leader Javier Bohorquez met Venezuelan producer Alex Figueira (Fumaça Preta, Conjunto Papa Upa, etc) at a show and he handed him a business card. The tropical psychedelic sound Figueira was specialized on spoke immediately to Javier, as it did combine many of the crazy and groovy elements he loved from the most "out there" Funk (a la Funkadelic), with the countless Caribbean rhythms he had been exposed to, having grown up in Venezuela.

After the first EP "Viaje al centro del ritmo", where everything acquired a decisive tropical tone, a further eccentric exploration of the music of their homeland became inevitable. The subsequent single "Cacri 'e Playa / Sr Cartujo" clearly showed where things were moving towards.

“Pura Maldad” is a true tropical lysergic trip, and while you see vibrant colors and things move in very strange ways, the sun never seizes to shine. Despite its profoundly experimental character, the album proves very useful to anyone in need of getting a party started, maintained or fully blown up, depending at what point of the evening it’s played.

Artwork by Colombian artist Kevin Simón Mancera.

Produced by Alex Figueira at Heat Too Hot, Amsterdam.

One of the most active players in techno, Portuguese DJ and producer João Rodrigues aka Temudo, after leaving his trademark sound on labels such as Blueprint, Soma and Mord returns on Klockworks and delivers two cuts of elegant, pure bred techno.

In his words: “I think these two tracks truly represent my vision for minimalist techno: repetitive music reduced to its core elements, where the sequencing of sounds and their texture come together to form a solid idea with every detail being meticulously crafted and has a clear intention. I honestly associate these tracks to the label and I’m glad they have found the perfect home.”

Moments! Not just a music company but also a series of events under thesame name, releasing only outstanding works by musicians performing atthose events. When the award-winning producer, and an internationallyacclaimed DJ, Guy Mantzur, started a new enterprise, Moments, he had highgoals for a new endeavor. Since then, every label's release has pushed theenvelope.

According to numerology, eleven is the first of the Master numbers, and theeleventh release is nothing short of pure mastery. Tel-Aviv-based ChicoShuella, better known as Chicola, is one of the jewels in the crown of theIsraeli DJ scene. With a couple of decades under his belt and a stellarreputation, his debut brings a special touch to the label's exciting catalog.

Chico's debut on the label brings a three-track concept that takes theaudience on a twenty-minute journey. The opener, Dear Kobe, a collaborationwith Yoav, is a masterful work based on abstract emotions and spacy synthwork. The second track, Every Pain Got A Name, speeds up the tempo andreaches for the psychedelic atmosphere breaking the rules of the genre. Theclosing song is an ambient version of the middle piece, focusing on narrativelyrics and grandiosity.

Moments! Every second counts.

Repress!

KNTXT signs hotly-tipped techno artist Indira Paganotto for a new EP that showcases her unique sound across four compelling tracks.

Indira's father was a DJ in the iconic Goa scene in India in the 90s, so she grew up surrounded by colourful, emotive techno and psytrance. She has brought that to her own DJ sets and productions ever since she moved to Madrid to pursue her career. Now Indira is coming out with her best EP to date.

“I got to know Indira Paganotto when we opened up for demo submissions earlier this year,'' says KNTXT label boss Charlotte de Witte. “She immediately caught my attention with her unique take on psy/techno music. It feels very good to have her on board and I'm curious to see what the future holds for her.”

Indira adds, "I understand music as a state of trance where each track develops a journey and a story. Himalaya EP is the reflection of everything I learned since my childhood until today, the heritage and passion for Psytrance, the experiences in India, the connection with nature, as well as the feeling of freedom and strength like the gallop of a horse, the synths of Goa music, the love and the truth, which is what fills my life. Thank you Charlotte for understanding my language in such a true way. Ours is a real connection in such a sincere mental embrace, and I am proud to be part of your KNTXT family and to be able to show everyone who I am."

The EP ́s opening track, 'Takeshi', is a slick techno roller that is rippled with psychedelic melodies and bright acid lines. They bleep and squeak up top to create a hypnotic effect as the drums march on. 'Sultans Of Mountains' contains intense psychedelic synths waning about the mix. The drums are stripped back and urgent, and crashing hits and smart filters bring real tension as this one unfolds in an arresting fashion. On the other hand, 'Himalaya' has a deep and sleek techno atmosphere where astral pads and heavenly vocal coos make for a cinematic sound that will cast a real spell on the crowd. Last, but certainly not least we have the edgy and heavily textured 'Cobra' with its unrelenting drums, slapping hits and futuristic, psytrance-tinged melodies all designed to mess with your mind.

This is an EP packed with fresh techno, straight from the breakout star Indira Paganotto.

A blistering single 'Make You Freak' marks a welcome return to Drumcode for Eli Brown.

The Bristolian artist debuted on Drumcode in September last year with ‘Deep Down’, a summer highlight for Adam Beyer's label. His return 'Make You Freak' is five minutes of pure mechanoid techno, imbued with layers of acid, Brown's pin-sharp drums and a famous vocal sample. It's a thrilling cut that’s highlighted Drumcode's Warehouse Project party, Fabrik in Madrid and all across Eli Brown's 'Believe Tour' in 2022. ''This is a track I’m really excited about'' he shares. ''It features a sample of an iconic club classic in LFO's 'Freak', which I've been hammering in my sets for a while now. I think this could be the biggest techno track I've released yet and I couldn't be happier to be signing it to Drumcode.”

Symphony Orchestra is a new group from Maximilian Turnbull and Michael Rault. Both Rault and Turnbull are accomplished songwriters, performers and producers in their own right, with Turnbull leading The Badge Epoque Ensemble, playing with the group Darlene Shrugg, and once releasing records under the name Slim Twig and Rault having released several psychedelic rock & roll classics under his own name in the past decade. The pair have worked together in various capacities for many years, writing and recording together on U.S. Girls' In A Poem Unlimited, and contributing to each other's releases, but the debut LP from Symphony Orchestra (due out May 12th on Telephone Explosion) marks their first release as an official entity.

Needless to say, there is a potent creative chemistry between Rault and Turnbull and Radiant Music showcases the alchemy between their distinct skill sets. The album is an exercise in pure collaboration. After years spent focusing on solo projects and working as hired guns on other projects, the duo came together with no specific intentions other than to work free of boundaries and direction. Freeing themselves from the familiar pressures of deadlines and expectations, they found a sense of discovery through togetherness. Duties on this project were split between Rault acting primarily as a one-man rhythm section and lead vocalist with Turnbull bringing chord sketches and his trademark aphoristic lyrical musings to the table. Trading off roles on guitar and keys from song to song, the duo's deft approach to melody bleeds through their instrumental parts as much as it does through Rault's vocal melodies. The majority of this album was self-engineered over the course of three sessions in 2018, at Michael's Montreal studio. Dormant during the pandemic, Rault's move to Los Angeles and the birth of Turnbull's twin sons, work reignited in 2022. The latterly tracked instrumental 'Concerto' and ballad 'Unthink The Thinkable' provide a dynamic depth to the album perhaps attributable to this tumultuous pause. Mixing came courtesy of Steve Chahley & Tony Price (U.S. Girls, BÉE, Jane Inc, etc).

In all of their work, Rault and Turnbull have made a hallmark of elaborately precise production and arrangement, Radiant Music is no different, though its pared-back simplicity provides a streamlined directness. The pairing of Rault's soulful, elastic vocal with Turnbull's evocatively cerebral lyrics provides a thrilling sensation unlike anything else in their respective catalogs. With an explosive, groove-forward approach, kaleidoscopic walls of vocal harmony and technicolor displays of guitar work, these 31 minutes of music will most certainly stimulate the mind of any fan of classic pop rock and funk. The blown-out breakbeats, winsome woven vocal melodies and propulsive wah-wah guitars of the title track evoke memories of an after-school cartoon special that never really existed outside of a lysergic daydream. "Harp In The Wind" is a perfect moment of overcast melancholy complete with ribbons of weeping synthesizers and velcro-fuzz guitar that could rip a clean line through Kevlar. "Know Thyself" and the harmony-rich "Intersection" are standout tracks that find a kinship in Stereolab's space-age effervescence. "Concerto" is a slab of beaming, mischievous funk that nods to Billy Preston's extraterrestrial keyboard explorations.

Radiant Music, like the best pop music, is life-affirming, confectionary, and enticing. Symphony Orchestra have created an album that hits you right where you need it, anchoring heady, adventurous sonic ideas down to a solid foundation of masterful songcraft, virtuosic instrumental performances and undeniable groove. Not a bar, nor beat is wasted.

The ever-evolving Bruise, purveyor of that top shelf house business drops The Skyline mini LP via Foundations Music Productions showcasing some of his finest work to date. Eight cuts that range from deep, introspective delights to hard-hitting club weapons, jazz-infused 2 step to UK bass flavours including a signature remix from esteemed stalwart of the scene, Future Beat Alliance.

Kicking off with ‘Cascade’, Bruise opens the record with a driving, emotive 4/4 vision of swirling strings and glittering pianos while a choir builds to create a club track of haunting beauty. ‘Brass Tacks’ and ‘Thunder’ follow, the former packed with driving horn riffs, euphoric chords and that classic Bruise breakdown, set to ignite dance floors across the world, with the latter a dramatic dance floor heater that mixes intensity and sensitivity to stunning effect.

Maintaining that balance of delicacy with power, elsewhere Bruise offers up both an instrumental and vocal mix of ‘Driftin’’ the atmospheric yet equally effective house stunner.

On the B side ‘The Dassy Slide’ dives deep into the basement. A rolling syncopated vocal lead dances around a nagging horn refrain all underpinned with a bass heavy 2-step inspired groove. Closing out the package Future Beat Alliance twists and turns with techno leaning trademark remix of ‘Themes’ that tips its hat to the ‘90s yet with a firm foot in the future before the UK Bass, breakbeat blending ‘Tears’ takes the final spot.

We're thrilled to release two exciting electro tracks by Art P, as well as the classic minimal synthwave tune 'Der böse Osten' by related band project Die Synthetische Republik on this limited split 12".

The single kicks off with 'Genscher Pull and Push', an incredible and previously unreleased electro/wave/proto-techno tune from the P.A.P. archives, recorded in October 1982 with a political background. The song was only available on a demo cassette for a radio show and had been forgotten since then. Genscher was a long-time Federal Minister for Foreign Affairs and Vice Chancellor of Germany, who played a key role in a coalition change in September/October 1982, leading his party, the FDP, to leave the Helmut Schmidt cabinet with the SPD and continue with the opposition, the CDU/CSU. As a result, the German lyrics of the song shout 'bitte geh nach links / bitte geh nach rechts' ('please go to the left' - meaning the left-leaning SPD, and 'please go to the right' - meaning the right-leaning CDU), and so on.

Unfortunately, this track was never released, as the topic of the coalition change quickly became uninteresting and outdated. If it had been issued on vinyl in late 1982, it would probably be considered one of the first proto-techno tracks ever. With its driving and heavily-punching 808 rhythms, and the bending synth bass leads played on the Jupiter 4 synthesizer, it gives you a groove that owes as much to Kraftwerk's 'Computerwelt' album as it may rhythmically pre-date the sound of Detroit's Juan Atkins. The energetic German vocals are giving the track a unique Neue Deutsche Welle touch. They are heavily left/right panned to fit the political topic.

Next up on the Art P side is a remix of 'Polaroid', originally found on the No Message LP that we re-released last year. The track was recorded in 1985, and at that time, the duo of Frank Grotelüschen and Jens-Markus Wegener had become bored with the sound of the Roland 808 drum machine, so they made the track with a DrumTraks by Sequential Circuits. However, for this remix, DJ Scientist, the curator of this 12", wanted to recreate the typical electro-funk sound of the era and added 808 bass drums and claps. The track was also shortened to a more DJ-friendly arrangement. The result is a dancefloor delight for all lovers of classic electro and SVC-350 vocoder sounds!

Die Synthetische Republik was a project by Wegener of Art P and Olav Neander. The track 'Der böse Osten' can originally be found on the cassette album 'Faktor D', recorded in just two weeks on a Tascam Portastudio 245. The original recording sessions were pure fun but also rushed. Hence, none of the tracks was perfectly mixed. With digital technologies, we remastered 'Der böse Osten' to achieve the best possible result and are pleased to release this serious synth wave gem on a loud 12" for the first time as an exclusive extended mix.

The split 12" is released in a picture sleeve with a unique artwork on each side. It is limited to 500 copies.

Ukranian artist Azotti delivers four tracks from his catalogue on 140g single 12 inch vinyl release courtesy of Blackhole Recordings. These are full length versions.

Due to the current situation in the Ukraine, both The Record Republic and Blackhole Records will be donating their shares of the profits directly to Azotti so he can purchase essential items and directly help those that are in the most need.