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Debut album of heavy Colombian salsa by the obscure and short-lived El Clan Antillano. Founded in 1975 by singer Jacky Carazo and radio personality / composer Mike Char and backed by a studio orchestra comprised mostly of Fruko Y Sus Tesos band members. The record has been remastered from the original tapes, with an additional three bonus cuts taken from two rare 45 singles, including the sought after track ‘Alma’. First time reissue. 180g Vinyl.

El Clan Antillano was an obscure, short-lived salsa group started in 1975 by singer Jacky “El Caballo” Carazo, originally from Cartagena, and radio host / song composer Mike Char, from Barranquilla. The band was active only until 1977, with a mere two albums to its name. Carazo and Char, “los amigos costeños” (friends from the Caribbean coastal area) created El Clan Antillano as a fresh start after the previous group Carazo had been the lead singer for, El
Afrocombo, had become inactive.

Char primary passion was music, especially songwriting. One of his skills in this area was adapting foreign songs, often in a different language, rhythm, arrangement or genre, and refashioning the tune in an uptempo Caribbean dance mode as a salsa or cumbia. This formula, as well as his own original compositions, soon brought him success not only with costeño friends like Carazo and Vicentini, but also with Medellín’s Fruko, allowing him to make a name for himself with record labels in that city. It was at this juncture, in 1975, that El Clan Antillano was born. This is their first album and was recorded with local studio musicians. It’s been said that most on the first album were from Fruko Y Sus Tesos (the voice of Joe Arroyo can be heard on coro) as well as others involved with various groups like La Protesta (de Colombia) and Juan Piña’s La Revelación.

The album kicks off with ‘Donde ‘sta? Donde ‘sta?’, a medley of costeño lyrical phrases quoting various popular porros. Gradually changing the vibe, this is followed by Enrique Aguilar’s ‘El baile del
ratón’, a humorous cumbia that changes into a salsa halfway through. As if El Clan Antillano were not entirely confident about featuring purely salsa from the start, the same cumbia/salsa hybrid formula is used in the third piece, a faithfully rendered version of Eddie Palmieri’s ‘Mi cumbia’.

‘Estás equivocada’ rocks hard like the best Venezuelan salsa of the time. ‘Esta mañana’ is a cover version of an obscure bolero from Curaçao’s Erwin Castaneer with Super Combo Castaneer. ‘En la oscuridad’ is an interesting mashup of Puerto Rican bomba and New York style pachanga. ‘El despertar’ is a sunny sounding pop song reinvented as a Nelson y sus Estrellas style salsa/cumbia hybrid with a fantastic ‘montuno’ section.

Up next is a hard salsa jam in the ‘pregón’ (street vendor’s cry) genre, written by Fruko Y Sus Tesos percussionist Álvaro Velásquez (composer of ‘El preso’). The original album track list closes out with a fantastic rendition of Puerto Rican singer/composer Bobby Capó’s classic ‘El negro bembón’ that the world first leaned to love through Cortijo y Su Combo. Three bonus tracks have been added to the album as it was originally very short. Interestingly, there were four songs from two 45 singles cut by the band that were never included on either long play. While the ephemeral El Clan Antillano may not be as well known as the groups it’s related to, namely El Afrocombo and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana.

Balearische Grammophon is back with another EP featuring two previously unreleased remixes of one of Germany's biggest contributions to hairstyle and nylon sales.

To some less reputable musicologists these versions of "Brother Louie" are to the original version what AMG is to Mercedes Benz - pure performance.

B-side refutes any claims that Ketamine might have been less prevalent throughout German recreational circles during the 80s. If not in the streets, surely in the recording studios, whatever happened, this was not meant for radio play. For select dance floors only.

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.

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.

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.

Pure UKG gold from ’98, as the masterful M.A.D Productions aka M.J. Cole and Darryl 'B' joined forces with the queen Carroll Thompson to produce the highly sought after underground cut ‘Too Late’. With originals selling for £90+ it’s about time a remastered, reissue hit the racks.

Providing a snapshot into the explosion of UKG across the country in the late ‘90s, a melting pot that bubbled up so many classics in its heyday, ‘Too Late’ is straight up, soulful UKG perfection. The ‘Deep Vocal Mix’ lays Thompson’s slick, sensuous vocals over a skippy bumper of a beat, subby bassline and sublime pads. Peaktime, warm-up or warm-down this is an unquestionable garage groover.

Take to the flip for the ‘Underground Dub’. The duo chop up the vocals in trademark style, turn the swing and skip of those hats up to the max, whilst wobbling and weaving soulful stabs to create a 4x4 heater that is guaranteed to have hands drawing for wheel-ups left, right and centre.

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!

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.

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

Last summer saw youANDmedelivered his “Diva 2022” mix of "PPPPP" a track that would ignite dancefloors across Ibiza and become one of the smashes of the summer in the process. The label was always certain the record was a hit and the response that followed justified their faith.

The track went on to be championed across the globe by the likes of Ame, Dixon, Matthias Tanzman and Pete Tong (Radio 1) leaving a succession of dancefloors demolished in its wake. Fast forward to 2023 and the Cult brings in a smorgasbord of house music’sfinest to breathe fresh verve into what is rapidly becoming a future house classic.First, comes the unmistakable dancefloor call of the “Diva” mix, with its fierce retro vocal and contagiously looping house sound. Its raw undeniable groove shook dancefloors for a reason the first time around and here it is to do the damage all over again. Next, house music legend Ian Pooley hops on board to serve up a delicious slab of fat analogue deepness.


A rework for the real house heads, it drenches the original vocals in reverb and creates a tough sub-laden groove bound to work deeper floors. House music’s producer of the moment Cinthie delivers a red-hot reinterpretation that ups the bpm count and zones in on the drums. The Berlin-based producer creates a colossal house-breaks crossover that is bound to tear apart dancefloors. Reese subs fill out the lows while organs deliver the original rave flavour and take the track into orbit.


Finally, Tel Aviv’s Yotam Avni turns out a remix that delivers shades of the pure old-school house with piano stabs sitting alongside deep chords before he puts his tougher-edged modern techno stamp onto it. Rhythm Cult is on a roll now returning with one of the most hyped tracks of 2022. This package delivers the goods with fresh remixes for 2023 from some of the best in the industry who are now added to the label's impressive roster.

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.

Repress!

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!

Repress

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.

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.

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.

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.

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.

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.

Repress!

After the enormous support received in previous releases, we believe that the time has come to give our music a bit of color and this time we have opted for green, the color of our natural habitat ... "La Jungla de Andalucía"

Sekret Chadow surprises us again and shows us the most sentimental side of him with his "I Love You Mommy" We can already imagine what this artist would be thinking about when creating this beautiful musical composition, a true tribute to one of the most important people in our life, without a doubt a track created with a lot of love, loaded with arpeggiated melodies, vocals, basses. and powerful breaks that create perfect harmony. Close your eyes and let yourself be hypnotized by the magic of his music.

Baymont Bross joins our family and we could not start in a better way than presenting this beautiful version of one of his greatest hits throughout his career "Enjoy Yourself" Do you remember those infinite closings at Carpas Yerbabuena? Are you one of those who danced in Mangueta Beach until dawn? Surely you once danced to this track and now we can relive those wonderful moments with this vocal version created on the occasion of the 10th anniversary and extended for this occasion. Welcome to the monkey family.

Adam Vyt brings us his track "Don´t Give Up" a message of strength and encouragement for the times. A track with piano melodies followed by an elegant line of atmospheres and basses, vocals and a powerful base with airs of Uk Garage, a mixture of styles that already define this artist. This track was previously released in digital version by the "Distorsion Records" label, making it one of the best tracks in Beatport's Top100. Never give up...!!!!

Case82 is back with us and this time with another of his most powerful tracks "Pump This Party" and that's how it is ... the party's pump .... !!!
Once again this Dutch artist shows us that his strength is pure Old School, a mixture of powerful bases, vocals, stabs and wonderful melodies with violins and piano to which he is already accustomed. This is "Lost in The Jungle"

Very few electronic music artists can boast of spanning a wide musical spectrum as the UK producer Calum Lee aka Paleman / Fresnel Lens.Always emphasizing the percussive side (advantage of being a jazz drummer), and always with an innovative spirit, the releases of this authenticsound designer oscillate between the most abstract / experimental electronica and minimalist club focused techno, from atmospheric andintrospective works to the sickest dubstep / bass music.

As at 30D we declare ourselves absolute fans of Calum's music, we had a clear obligation to ask him to join our catalogue, specifically for the EyesHave It sub-label (we had especial interest in his interpretation of broken, dark and industrial techno). His answer was direct and unmistakable:"I've sent you a lot of pieces that fit with your label vision and the imagery that we love.. I've been studying existentialism a lot recently, so thesetunes are a reflection of my headspace at the moment!".

A true declaration of intent!And here it is, five perfect examples of obsessive tribal madness, overexciting synthetic broken beats and a lot of rawness. A pure musical gem.

Emotional Rescue dives back in the world of post punk experiments and early synthesised electronics to present another of the labels iconoclastic 7" 'collectors specials', with a look at Stockholm's Staalfagel.

Born in 1977, Erik Fritjofsson and Petter Brundell merged and formed Staalfagel out of the suburbs of Jakobsberg. Like so many at the time, the duo was tired of Prog, Jazz and Symphonic Rock and formulated something new and against at the same moment; a time where drummers were jettisoned in place of drum machines and the inspirations of artists like Creedence Clearwater Revival, Devo and Pere Ubu were thrown in the mix to fervent results.

With Micke Kjell soon joining on bass, they toured Sweden constantly, the manic machine beat, beating guitars and strange synth sounds defeated the throng and led to a considerable following. Recorded live to tape with no overdubs or mixing, the faithful CR 78 drum machine, the results radiate energy.

Release just 4 records in 2 years (1980 - 1982), Utan Rymddrakt Pa Uranus appeared as their last ever release. Jettisoning the punky-funk vocals of previous releases, the single is a pure electronic groove. Funk bass and guitar atop, its short form simplicity is perfection distilled in 2 parts of less than 3 minutes, conjoined like some reggae dream, with 'Uranus II' acting the dub 'version' counterpoint.

Discovered and shared by long-time friend, DJ and collector, Gary The Tall steps out from behind the decks and microphone of his long running NTS show to present an exemplary "Reversion". Teaming up with master producer and label affiliate, Timothy J Fairplay on engineering duties, they keep the originals' straightforward charm, deceptively editing, looping and reversing with aplomb, for a killer flip side.

Hot on the heels of their sophomore release with DJ Rocca, Cyphon Recordings welcome Tijuana’s Cyborg Nerve to the family for the third installment in their busy label schedule.

A new project helmed by the Cedillo brothers - also known for their work under the monikers Soul of Hex and Mano De Fuego - Cyborg Nerve’s sound tips the hat to the roots of Detroit electro and techno.

The Vicario Musique Recordings bosses have already made a mark under their Soul of Hex alias, pushing their cosmic, vibrant take on deep house. It’s caught the ear of labels and artists across the world; the likes of Delusions of Grandeur, Freerange Records and Quintessentials have shared their music and they’ve even earned the Larry Heard seal of approval, with the legendary Chicago producer stepping up to remix their 2014 track ‘Lip Reading’. As Mano De Fuego they’re also getting their music into the hands of pioneering figures in the American dance music scene - summer of this year saw them release a shamanistic debut via the inimitable Underground Resistance.

For their debut outing as Cyborg Nerve, the pair deliver four tracks of old school electro grooves. Title track ‘Cristalizacion’ kicks things off. A slice of intergalactic electro; celestial pads soar above warm bass and staccato drum rhythms. Their eponymous track follows and takes the energy levels up a notch: a warbling bass line drives the track forward, whirring and revving while crisp hats fizz overhead.

‘Tijuana 3000’ is another cut that's custom-made for the dance floor. As with the title track, the duo call to mind the interstellar jazz-tinged electronics of Detroit outfit Galaxy 2 Galaxy, as they pair cosmic twinkling melodies with a hypnotic acid line that takes centre stage. ‘Machine Effect’ brings the EP to a close. Like its name suggests the track is powered by a raw, machine funk groove and precise drum programming - no bells and whistles, just pure cosmic vibrations to move your body.

Memoria Recordings is back! And with a very special release this time. Ilario Liburni, known for his work on the labels Cardinal and Invade with artists like Villalobos, Thomas Melchior, and Valentino Kanzyani, has just released a brand-new project together with Izaakson, the man behind Memoria Music Group. This is their debut EP after working together in the studio.

"Operator," a straightforward track with gritty kicks and snares meeting harsh chords and melodies, is the ideal way to open this EP.

Another club anthem with slamming beats, resonant chords, and captivating vocals is "Get Around."

With "Look At The Line," the B-side, we delve a little deeper.

Pure minimalism!

Elements. is back with its third release signed by Crihan. 'Recurring Figures' finds Alin right in his element, showcasing three purely minimal tracks rich in detail and deeply engrossing textures reminiscent of the golden ages of (organic) minimal circa 2010.

A-side's 'Periodic Arrangement' kickstarts the EP in distinctive, contemplative tones. Drum samples meticulously syncopated amongst a canopy of modulated noises, bass bleeps and dramatic piano chords - they keep the groove moving amidst cinematic soundscapes reminiscent of dark fantasy scenarios.

Flip-side's 'Regular Intervals' (B1) moves closer to micro-house realms. There's plenty of swing and playful sampling while maintaining the same cinematic deepness introduced before. 'Again & Again' (B2) sits perfectly as the EP's closing track, merging swingy, dance-focused drum arrangements with dramatic atmospheres and picturesque tones.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

Welcoming Hermanez to Satya has naturally induced the label to transcend musical boundaries by opening up the creative parameters to more electronic artistry. Taking spring by storm, Hermanez has adopted 009 with grace and unequivocal individuality. With his full-body thrilling tracks, he empowers the listener to Rewire their listening programming, refreshing their palette with a high-energy burst of sexy flavors.

“The urge for freedom during the lockdown was a big thing for me. I personally had a production burst. Everyone needed to deal with what happened, so I did it in my own way by purely doing the only thing that kept me moving forward: creating a space to stock a feeling. Rewire is a story that is beyond words, as it is made up of healing sounds. Although there were cultural contradictions these past years, what mattered most for me was and still is people’s love for music. Overall, 009 was inspired by the beautiful collision of people and their experiences.” - Hermanez

Through defined grooves, rolling bass lines, granular uplifting synths and pad use, Rewire is literally wired with deeply hypnotic and mystical atmospheres. Hermanez truly strikes and presents us with four dance floor weapons.

When the body starts moving
And the mind stops racing,
The heart ends up pumping
And a smile keeps spreading.
Our programming is now rewiring
Our perspectives now expanding,
With all 5 senses heightening
Because of what is resetting,
Recalibrating and realizing.
Rewiring to a new reality.
- Ty Alexander

As luck would have it, this seventh exclusive Deep Site Vinylized edition sees the pure class of Tojami Sessions (Dessous Recordings/Plastic City) with two stand out original tracks each offering remixes that contrast and compliment the full atmosphere of this release.

Falling (Original Mix) takes you on a late afternoon cruise filled with soft seductive whispers and a surprise percussion during the break. Falling (Manuel Sahagun Remix) adds more of a jazzy element, focus on inspiring words, and the laid back improvisation keep the groove flowing non-stop. Falling (Kessidis Remix) takes on a more mystical and minimal approach amidst modulating synths and the spoken words declaring what is to unfold. What Is Love (Original Mix) The extended intro and groovy bassline start this track off, bathing you in sunlight while the vocal samples splash over and refresh you creating a radiant joy. What Is Love (Deep Spelle Remix) layers some harder beats and an 808 bassline producing that contagious dancing feeling impossible to resist.

What Is Love (Funtom Remix) sends the track to high emotional levels with use of melody and dynamics making it a true anthem bound to leave its touch.

Mathis Ruffing’s Transatlantic debut cuts to the chase. This is getaway music, music designed to vaporise your long-dormant adrenal glands. ‘Skybox’ is made up of tracks that surge like quicksilver through veins, pulsing, flexing, relentlessly disciplined in execution. These tunes are crystalline and shimmering, eight sleek and streamlined club constructs rendered with what feels like the precision-engineering of some advanced alien DAW.

Opener ‘Ultranova’ hits like a cyborgian headbutt and refuses to let up. It’s followed by the one-two punch of the title track and ‘Hitherto’, which install cooling, gaseous pads and synths within breakneck drum&bassian exoskeletons. ‘Crater Edge’ and closer ‘Raytraced’ offer cryochamberesque respite from the cold-blooded fury enclosed within this release — well-earned breathing room in an album that takes hold with crisp and calculated force. Pure focus.

Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.

In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.

Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.

Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.

Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.

Following up 2021’s compilation 'and felt like...', ' ...it wasn't really me' can be seen as the missing part of a diptych, only separated by the passage of time, yet whole in spirit. Again, a familiar company of singular artists showcase remarkable unity in diversity. Similar to its predecessor, a rustic gloom glues everything together into a seamless whole, enabling the collective to transcend each unique contributors' musical voice elegantly.ambient

The Lagaffe boys have a special one for you. Lagaffe 10 marks the 10th EP in our vinyl series and serves as a perfect way to end our 10th year in existence. To mark this occasion we are releasing a 4 tracker with our founders and label regulars.

The EP opens up with Cohen Social Club by Flexi Leifs aka Felix Leifur. Our man Felix lost his drum machines last spring but luckily he found a guitar and some drums. The track starts off with suspicious sounding guitar notes that somehow end up as pure beauty, giving hope in the darkest of places. Frodo with the ring stuff, if you know what I mean. Playful reverbs and echos give the tune the classic Felix Leifur feel to it!

Moff & Tarkin has the next track "Pure Fury", some breakbeats and cheesy disco vocals, why change a winning recipe?

Next up is "We are not alone " by label boss Jonbjörn. I think this is what Elton John meant when he said "thank god for those electro bangers!" Solid 909 drum work featuring dramatic chords and some original vocal work. If you can spot the sample write us on Soundcloud and you might win a year's worth of LaCafe Tales!

With "Að handan" Viktor Birgiss comes back to the label in style. Our mastering engineer described it as having the loudest kick drum in history, imagine that! Lo fi dub sounding drums interlaced with atmospheric chords, made for those late night intimate moments on the dancefloor, again Frodo with the ring stuff, if you know what I mean.

Hypnotic techno and electro from the enigmatic Dutchman Taupe, who has released a steady stream of Detroit-influenced cuts across European labels like Impress and Tech-um, plus his own Colours label. For Gated he presents four tracks that remain pure to his strong Motor City influences.

Kicking off the wax, ‘Rootless’ is a spacey, mesmirising, and driving track that gradually builds momentum in the best way.

Next up, ‘Marrakesh’ takes things a little harder and deeper, keeping that tripped out vibe and pushing things forward.

For the B-side, ‘Terra’ brings out some eerie electro underpinned by a rolling bassline, while ‘Bloom’ rounds off the EP with perhaps the most melodic track of all.

(Late Nite Tuff Guy & Farley 'Jackmaster' Funk Remixes)

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electro-fied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

DJ Feedback:

OPTIMO/ JD TWITCH
Nice! The Farley mix is an all time classic. Lovely version from LNTG.

GERD JANSON
I have love for this.

GRAEME PARK/ THE HACIENDA
I vividly remember playing this record the day it was released while working at Selectadisc in Nottingham like it was yesterday. I played it the same night at The Garage club not long after I started DJing there. It brings back some great memories and this superb remix is just wonderful. Its made me get all bleary eyed and tingly. Absolutely tremendous stuff.

AXEL BOMAN
Love this

KAI ALCE / NDATL
This is a HOT EDIT from Late Nite Tuff Guy!

A LOVE FROM OUTER SPACE/ SEAN JOHNSON
Killer - love it

NORM TALLEY
I love this!

CROSSTOWN REBELS
Nice one!!

JACQUES RENAULT / LETS PLAY HOUSE
LOVE the classic Farley piano mix and the LNTG version is a fun take too!

OSUNLADE/ YORUBA
LOVE THIS!!

DANIELE BALDELLI
Love this classic, and now more love for both new remixes

DANNY TENNAGLIA
I really like this remix

DANNY KRIVIT/ BODY & SOUL
Nice

DJ KEMIT/ ARRESTED DEVELOPMENT
An incredible beefed up edit of an international dance floor classic. 10/10

HELENA STAR / NTS
Amazing record, those chords!!

LOUISE CHEN/ NTS
I’d love to play this.

ERIC DUNCAN/ RUB N TUG
This ones cool.

MAKE A DANCE / BEN
Yes yes yes pease love the original so much.

HOT TODDY/ CRAZY P
The Farley mix is a total winner which is a new one on me, LNTG mix is pretty tasty also

TERRY FARLEY
Yes please. A big early House lesson for me BITD

SUB CLUB HARRI
Realy diigin this.

GROOVE ARMADA / TOM FINDLAY
Love this, production is so good!

For the 7th release Theory Of Swing welcomes the French duo Groove Boys Project to join the catalogue with their “The Manhattan Soul EP “. Lucas and Alexandre are two talented and devoted guys towards the 90’s house sound. In collaboration with some of their mates Rawaï and Dusty Fingers they created this pure NY house 4 tracker EP that respect at full the concept of the label. “Bring back that magic feel “ .

Written and Produced in the Parisian "Studio 937"and Mastered from St. David at "TOW Records Studio".

(Umwelt & Sonae Remix)

For the very rst time Blintmusik welcomes two artists to remix tracks from the label’s back catalogue. Keeping the tradition of two tracks per release - on the A side we meet the french grandmaster of Electro, Umwelt. His remix of ‘Chauncey Street‘ is a pure dark whirlwind with bitter-sweet synth-strings oating over a set of forward pushing drums
and a drilling bassline. On the ipside is Sonae, best known for her immersive albums on labels like Monika Enterprise.

Her Remix of ‘92 Avenue‘ opens the gates to a distorted synth-utopia. In a total deconstruction, the Cologne based artist turns the original club banger into a nightmarish noise staccato which spirals down your spine before dropping into a heavyweight kickdrum-inferno. Truly unsettling club music at its best.

Restock

Greek genius DimDJ is no stranger to a live jam, pushing his machines to produce gritty dancefloor stompers since the heady days of 2004.

Following a 2019 album of trippy arpeggiated techno – appropriately named Recurring Patterns – here he makes his Gated debut with an EP of uncompromising 303 workouts, once again driving those silver boxes to produce addictive, floor-focused DJ tools.

But it's not all heads-down squelch, with a final track squeezed onto the B-side that brings a surprisingly punk twist to an EP that's also appropriately named... Acid Tracks.

Four years in the making, Duct Tape Project is the new brainchild of Tripmastaz in the realms of Trip-Hop and Downtempo. And it's a project that makes perfect sense to anyone familiar with Andrei's background (making Hip-Hop beats since his teenage years), musical capabilities and decades-long experience. Duct Tape Project joins Andrei with a troupe of stellar musicians not only from many different corners of the world but also from acutely distinct genres - Guti, Argenis Brito, Mad Dim, Denis Kaznacheev, Krussia, Damien Vandesande of DOP, Sarkis Ricci, Andrey Orenstein, and vocals by Inga.

Featuring all sorts of live instruments, drum machines, synthesizers and modular systems, Duct Tape Project brings forward a complex work brimming with musicality. Using Hip-Hop, not only its rhythmic structures but also its sampling techniques, as a foundation, Tripmastaz created a vibrant and fascinating ecosystem with enough sonic texture to leave one captivated, enraptured and lost at the edge of words. There are 13 musical compositions in total that explore all things Hip-Hop, Downtempo, Trip-Hop, Chill Pop and Lounge, forming a cohesive and deeply soulful album.

Following releases from label founder Palms Trax, a reissue of eighties Chicago House innovator Rog’e, and a pair of cassette mixtapes from Berlin-based selectors Enchanted Rhythm and Budino, CWPT looks to the North-East of England for its next release, live and direct from REES.

Hot on the heels of a twelve-inch on Bordello A Parigi and underscoring a slowly simmering reputation as one of the brightest stars of his community, REES’s debut on CWPT is a classy and globally informed perspective on house, disco and acid styles.

Undistilled rhythm is at the heart of Rees’s vision of club culture; on title track, Devils Club, it’s effect makes itself known immediately, driving a channel of lively percussion towards a series of tasteful breakdowns that are both propulsive and alluring. On ‘Magic’, a confidently raw, loose drum loop accelerates into a glossy, psychedelic speed-chase that’s pure Miami Vice reimagined in Middlesbrough.

On the flip, two versions of ‘The Spirit’ tastefully expand beyond REES’s musical borders and into warm, cinematic territory, blending tropically tinted instrumentation with (and then without) an entrancing vocal sample.

DC Salas’s label Higher Hopes returns for its sophomore chapter… ‘Male Tears’, a deliciously sleazy and wry take on the patriarchy from queer polymath, Kiosk Radio resident, visual artist, performer, producer and DJ Strapontin.

“I wanted it to be funny, sassy, with a drama touch,” he tells us. “The track ‘Angry’ is about a frustrated and lonely angry man. ‘Male Tears’ is a sleazy club hit mocking a straight white male friend of mine who is unable to question himself and his privileges. ‘Divorce’ is a joke on marriage and its rules and ‘Teaching Drama’ is, well, about drama queens…”

Drama, hard truths and witty observations: Strapontin’s agent provocateur status is galvanised by the oily basslines, off-grid drums and loose, swathing grooves that prowl out of the speakers and flip devilishly into moments of pure euphoria… And moments of total chaos.
Strap up, strap in… Strapontin is taking us higher. We couldn’t hope for more.

Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.

High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.

Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.

From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.

Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.

The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.

Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!

The fast rising FUTURA imprint from Leon, releases its new release from Mexican DJ Producer Mike.D with stellar remixes from Len Lewis and Do Or Die to complete the package .



Salomon Records founder Mike.D hails from Juarez Chihuahua, and is considered one of the new generation talents of DJs and producers from northern Mexico. His music selection and mixing abilities have given him the opportunity to play at the legendary Mexican venue Hardpop for many years. As a producer he’s released on labels like Kanja Records, Kina Music, The Lab, Dream Culture and more which has cemented his place in the scene. His music is regularly supported and played by the likes of Arapu, Sepp, Cosmjn, Maher Daniel, Mihai Pol, Sublee, YokoO and more.


For his debut release on Futura, he drops 2 originals the first of which is the title track ‘Mente Trascendente’. An edgy minimal deep tech house track with a grooving electronic bassline, deep atmospheric pads, classy beat pattern all combining to create an elegant 8 minute journey. The second on the package is Len Lewis’s remix of ‘Mente Trascendente’. Len Lewis released his first track back in ‘93 on Jumpin & Pumpin, which then led to records on the likes of the legendary Swag. Lewis’ designated name for his sound is, SiTH, Sinister Tech House, claiming its mysterious name after a Mixmag reviewer used this description for his music many years ago. His remix fits this name perfectly, powerful low bassline drives the track effortlessly, and smooth breakdown combining with eerie incidentals and pads, treated vocal cuts providing the signature hook for the track. This is a remix that’s perfect for the heads in the scene.



Next up we have ‘Sendero Interno’. The original mix is a pure minimal work out right from the outset. The stripped back and delicate beats use popping sounds for filling the frequencies, and work perfectly against the backdrop of the brooding pads and synths make this an classy introspective underground track, which is everything the Futura label is about. To round things off we have the final remix which comes from My Own Jupiter DJ Producer, Do Or Die. Well known for producer techno and electro the fast rising producer, delivers an acid house sci-fi esq work out on this remix with punching beats cutting through the mix, whilst retaining the brooding synths and samples from the original and adding in some special vocal cuts to keep this remix unique and perfect for the floor.

Debut album from Alex Ho out of Los Angeles.

In his foundational essay on Los Angeles, L.A. Glows, the essayist Lawrence Weschler speaks on the city's uncanny, immediately recognizable light; "The late-afternoon light of Los Angeles—golden pink off the bay through the smog and onto the palm fronds." Weschler traces the city's mysterious refracted light from the iconic paintings of David Hockney through the city's frequent portrayal on film and TV, noting its ability to put residents into a state of "egoless bliss."

Similarly, Alex Ho's new album for Music From Memory, 'Move Through It', radiates with the unmistakable LA glow. While the Pasadena native's studio work is just now coming to light, Ho has long been a fixture in the Los Angeles dance music scene, throwing what are perhaps the city's most musically expansive warehouse events and carving out a singular voice as a DJ, as heard on his brilliant Moony Habits show for NTS. The eight-track record, however, lands in a more contemplative zone, better suited for a golden hour drive than a night out.

Though it's his first record, 'Move Through It' is the accomplished work of a fully-formed artist, produced patiently between 2017 and 2020 with help from friends including Baba Stiltz, Phil Cho, Damon Palermo and John Jones. "Mark," the Koanic track conclusion side A, is an arpeggiated slow burn reminiscent of Pino Donaggio's brilliant score for Brian De Palma's 1984 film Body Double. Ho's stunning, pure falsetto soars above gentle melodies. "Miss Suzuki," the piece that originally caught the ear of MFM's Jamie Tiller and Tako, opens the record with a blue, cinematic sway. Ho's facility for poignant melodies—easily conveyed through saxophone, vibes, various keyboards and his own voice—shines on "College Crest Drive," as well as the title track. The lyrical "Move Through It" and the restrained and beautiful closing cut, "TYFC," are abetted by glimmering Kraut guitar figures courtesy of John Jones.

While Ho's rhythms and melodies paint a crystal-clear musical vision, the music's emotional centre is more elusive, indicative of a yearning feeling synonymous with the City Of Angels. Hitting these hazy and subtle notes, Move Through It falls within a canon of sun-addled records spanning from Herb Alpert's "Rotation" to Dam-Funk's Private Life trilogy as Garrett. An immersive and concise statement, Alex Ho's 'Move Through It' is as warm and uncanny as the city that inspired it, a definitive LA album.

Retromigration returns to WOLF Music for his 2nd solo outing on the label with a trademark, warm, jazz-flecked house journey.

Hot property by anyone’s standards, the Amsterdam-based producer stretches his legs across six MPC chopped and screwed heaters, from the punchy, deep deliciousness of ‘Hafenluft’ and sun-soaked vibrations of ‘Mad Fox’, to the bouncing bubbler ‘Tinger’ that features Nephews.

On the flip, the Dam-Funk channeling, keytar cruise ‘Be Alright’ sits side by side with ‘Disk Yard’ and ‘Nur Wir’, two twilight cuts that showcase Retromigration's love of the beats and hip hop scenes whilst putting his own unique spin on them. Another sure-fire example of why you’re seeing Retromigration’s name popping up all over the place right now – pure class from start to finish.

Black Repress !

This one is something unique coming straight from the FullTime Production vaults.

Orlando Johnson steps up to the plate once again with four of his delighting records revisited and completely remastered.
Pure Disco and Soulful House pleasure!

The 1983 special US remix by the iconic and legendary remixer and producer John "Jellybean" Benitex of "Turn The Music On" was Orlando Johnson's greatest hit and opens Side A together with the UK Remix of "If You Come Back" featuring Tony Adam.

On the flip side scalpel maestro Massimo Berardi delivers a new rendition of "Somebody Save Me" together with his remix when in the Harlem Hustlers duo, of "I Got It", taken from Orlando Johnson's "Funky Time" album of 2011.