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Kicking 2019 off in fine style, we present Boogizm co-founder Fym. Having previously presented tunes on Daniel Bell's 7th City, Circus Company, Telegraph, LMML, and Veniceberg. We have here 4 trax of hi-tech-lo-fi-funk. The works on this wax are devoid of cliche and full of quirky flavors; all whilst maintaining their dancefloor appeal.

Running Back welcomes Blood Shanti! The Falasha Recordings main man and brother of UK's living sound system legend Aba-Shanti delivers four breathtaking versions of Feater's 'Time Millionaire' (taken from the album ‚Socialo Blanco") in proper style. It might sound like an odd pairing, but it's a match made in heaven. Blood Shanti makes it sound as if the song was written for him. Pressed on one 10 in appropriate design and sleeve (watch out for the lion) it sounds as good as any slice of British reggae ever made (horns and piano included). While the 'Main Mix' is everything that lovers rock should be, the three dub versions deconstruct and dismantle the composition more and more as they go along. A modern take with an old-fashioned style of loving.

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

Dirty Games EP, is the second project from Jaja Saine and Leo “Love Tiger” Smith. The duo has been making their mark both as DJs and producers in the very competitive electronic music scene in Stockholm. Dirty Games EP 2019, is a wide range of tracks for various moods and settings. None of the tracks are alike, this EP definitely highlights the various elements and styles they have been influenced by as artists. The title track “Dirty Games” and “Moon Monster”being the tracks you just can’t help but dance to. Label info:"2MR is an electronic record label headed by Mike Simonetti (Troubleman Unltd), Adam Gerrard and Mike Sniper (Captured Tracks).

Matthew Puffett, also known as Future Beat Alliance, launches a series of EPs on his new ‘Reward System’ imprint. The new label will explore and dive deep into the mind of Matthew Puffett’s eclectic and unpredictable musical archives. Showcasing everything from lost and found DAT tapes from the FBA vault to brand new productions. Releasing his music on labels such as Delsin, Tresor, Eevo Lute and Rush Hour before now, here you will hear his recognizable style with warm synths, uplifting bass heavy grooves and dusty break beat rhythms once more. The six track ‘Reward System.1′ EP features all of this and more and is another exciting chapter in the Future Beat Alliance catalogue.

Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

Power Culture is the union of Emmanuel and Tim Tama. "Talent wins games, but teamwork and intelligence win championships." This project aims to melt the experience and the world of the two artists in one single place. Both known for their very unique style started to work naturally on music, figuring out lately that the entire project was right there, in front of their eyes, Power Culture is the result of the collision of many styles that dominated the 90's but look forward to the future, with a wider angle. Techno Culture has been crucial to the development of many crafts, and once in a while some projects tend to define a line in time, this is the aim of this project.

After a short hiatus Phonica Records revives its deep-house focused Karakul imprint for Harry Wolfman's new 12" 'The Ritual'!

Having produced a dozen 12's for labels such as Dirt Crew, Omena and Outplay, Harry has been honing his craft for the best part of a decade and you can hear how his sound has refined over the past few releases, reaching new heights with this latest record for Karakul.
'SMBC' kicks the 12" off in a laid-back style with its woodwind and brass samples complimenting bright pads and drums, reminiscent of MCDE, while the mellow and sultry 'Eva' is up next.

On the flip 'Obi 1' takes things up a notch both in tempo and energy, working around a lo-fi drum loop and cunningly filtered bassline.
Strings come to the fore halfway through making this a real uplifting gem, the mixture of instrumentation bringing to mind early Pepe Bradock.
Finally 'The Ritual' rounds out the record in a mesmerising way, slowly introducing more and more elements and stirring the pot before fading out again.
An original and fitting way to end the record.

Groove Line Records series of officially licensed disco / funk 12' reissues continues in 2019 with two fabulous cuts of gospel disco from The New York Community Choir (NYCC), 'I'll Keep My Light In My Window' & 'Express Yourself'.

The New York Community Choir (NYCC) began in the early 1970s, a gospel ensemble which developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

'I'll Keep My Light In My Window' is a slice of joyful uplifting gospel disco, which is as needed in these times as it was when it was released in 1978. This was a great favourite of David Mancuso and Larry Levan at the time, and has remained a much loved dancefloor track for the disco cognoscenti ever since.

This came from NYCC's second LP for RCA, Make Every Day Count, produced by Warren Schatz (who also produced The Brothers, which was Groove Line's first reissue 12' in 2014).

NYCC released a self-titled debut album, also produced by Schatz in 1977 included the dance hit "Express Yourself," the B-side of this release in its 11m45s David Todd & Warren Schatz Disco Mix version.

All Groove Line Records releases are fully licensed and taken from the original master tapes, this 12' has been remastered and cut at half-speed by Matt Colton at Alchemy Mastering (Mastering Engineer of the Year 2013 & 2018). All vinyl is heavy weight 180g manufactured Optimal Media in Germany, one of the world's finest pressing plants.

Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

Groove Line Records' deluxe reissue of 'I'll Keep My Light In My Window' & 'Express Yourself' is an essential purchase for any serious Disco, Gospel, Funk, or Soul vinyl collector who demands the very best in quality vinyl pressings. Find out more at

Alex Jann returns to Censor for the label’s second excursion into the unknown with three direct communications and a mix of the title track from Rotterdam’s Animistic Beliefs.

The EP’s title track Computoid.Transmission.X is a pulsating drum workout laced with dystopian pads, laser-cut leads, anxious bass lines and an evocative mutant vocal from an A.I. system gaining consciousness.

Animistic Beliefs create a darker texture in their Electric Eye Mix of the title track, sending the vocal and lead sound straight through the stratosphere via complex bass and arp phrases that filter and stalk around the lead bringing a deeper and more contrasting A2.

Firewall Culture comes as an intoxicating trip on the B1 with off-world FX, feral acid lines and a spacetime-defying style of vocal that haunt Alex’s work.

Jupiter Storms on the B2 ascends the EP to a higher plane with deep washes created from evolving pads adding space and movement to the final track of the release, all accented with glacial micro drops, syncopated beats and tight trickling synth sections. The release was mastered by Keith Tenniswood at Curve Pusher.

The new album by Juno Award and Polaris Music Prize-nominated Canadian soul star Tanika Charles.

Produced by a stable of some of Canada's finest musical minds including among the others Chin Injeti (DJ Khalil, Eminem, Drake, Aloe Blacc..), Record Kicks proudly presents "The Gumption" the awaited new album by Canadian soul star Tanika Charles that will hit the streets worldwide on May 10.

"What gave you the gumption?" Tanika Charles rhetorically asks during the introductory notes of her sophomore album appropriately titled The Gumption. While the apprehensive lover at the receiving end of that inquisition should feel slighted by the remark, it also alludes to the assuredness Tanika has gained since the release of her Juno Award and Polaris Music Prize-nominated debut Soul Run. The Gumption picks up where Soul Run left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. "It's a little more mature. It's not feeling guilty about being up front, not being afraid to address situations that aren't comfortable for me. I'm comfortable in my skin now in a way I never was before. The overall theme is growth. I feel the music reflects that, and my words reflects that. Even the album cover tries to convey the feeling too. I'm not putting up with unnecessary nonsense anymore."

Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, The Gumption was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D'Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs. "I've grown up and learned to deal with situations significantly better. We have a tendency to hold back our innermost feelings for fear of hurting others. Even when we're happy we worry about over-sharing, as if joy is a competition you don't want to gloat about."

The success of Soul Run propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe. "I've been touring, experiencing new places and meeting new people. And in that time also worked on completing this album". While criss-crossing Canada with festival appearances on both the east and west coasts, Tanika also embarked upon four overseas tours for a combined 45 European shows within a one year period. This included performances at the prestigious Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain.

2023 Repress

A heaven-made match is now complete with Gerry Read's debut EP for Pampa Records. The British producer's distinctively twisted, lo-fi sound, combined with Pampa's deep-vein instinct for quality quirks, ushers in a new phase for two of house music's most celebrated names. The opening bars of 'It'll All Be Over' are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn't to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, 'It'll All Be Over' is immediately memorable and expertly architectured. Read's second cut, 'Satyricon,' is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him. On the flipside, Pampa's figurehead takes an expert turn at the controls of 'It'll All Be Over (DJ Koze remix).' The original's jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.

After S3A's 'Deep Love' contribution last year we are stoked to present you this great collection of music! Coming from the French underground S3A aka Max Fader is absolutely no stranger to the scene. With releases on Local Talk, Quartet Series and his own 'Sampling As An Art records' he is deeply rooted in House, Hip Hop, Disco, Soul and Funk serving residencies at Paris clubs 'Concrete' and 'REX' he has become a local favourite as well with his DJ and Live sets. We are more than excited to release this special debut album that showcases some older and recent work, with live acoustic songs from early 2017 recorded at the Paris 'Red Bull Music' studios to new sample based House and Disco infused tracks in the signature 'S3A' style we got to love so much in recent years. 'Fever", 'Friends, 'Joint No. 5 and 'Greed' are all funk fuelled jams composed by Max, re-played and recorded again in several live jams with fellow musicians Nicolas Taite, Raphael Vallade and Pierre Vadon and edited in the studio by S3A afterwards, they breath this special Soul and Funk love Max got into by listening to 'Masters at Work' and old Disco jams. The latter 'Greed' has a special story, it is a cover of an early 'Laurent Garnier' track that got reworked by 'Avril' in the early 00's, here Max wanted to present his own Jazz and Funk perspective on that same track. The club stompers 'First Day With Lucien", 'Lockwood", 'Clarence J. Boddicker' and 'Leaving 19th' are the true party business on this album and range from Deep House to more classic edit style Disco tracks with live improvisations played on top of them.

RE-pressed and available again on 9th november 2018! The Gunesh Ensemble was founded in 1970 in Ashkhabad, Turkmen Soviet Socialist Republic, then part of the Soviet Union. They started out as a vocal group with supporting musicians from Turkmenistan State Radio and TV. Later several young musicians came to play with them and the band's music became much more modern. The group began to play jazz-rock tightly intertwined with traditional Oriental music. With that new musical style the band participated in some popular festivals around the Soviet Union. They received various awards and became very popular. Gunesh has always been in the process of developing and was one of the first and best local jazz-groups to organically combine the principles of jazz and melodic improvisation. The remarkably beautiful arrangements and polyrhythmic compositions were always further developed thematically. This process was highly praised at the Moscow competition With A Song On Life in 1977 where the ensemble became a prize-winner. The Organizing Committee of the Festival Spring Rhythms in Tbilisi (1980) called out members Rishad Shafi as best drummer and Stanislav Morozov as best saxophonist. This, their very fine first LP was originally released in 1980 on the Soviet state label Melodyja and contains traditional Central Asian music in jazz-rock arrangements plus a Vietnamese singer. The line-up has changed many times. Around 65 musicians have been a member of the group at some point in time.

The latest Subaltern release comes from new signee and rising talent Mrshl. Hailing from the San Francisco Bay Area, California, this powerful grime-influenced debut also brings British Grime star and Mike Skinner collaborator Grim Sickers along for the ride:

A - The Crown feat. Grim Sickers
EP opener ‘The Crown’ lines up to be nothing but a true anthem. Rough and tough bass-lines complement a barrage of razor-sharp bars, which Grim Sickers delivers in true UK style. Beware, strong stuff!

B1 - Death Dealer
Digging deeper on the second cut of the record, ‘Death Dealer’ fuses MRSHL’s grime influences with a meditative sound system vibe. The hypnotic riff gives space to waves of bass and detuned oneiric pads, alternating into a mind-twisting dance-floor weapon.

B2 - Endless Mirrors (Harp Riddim)
‘Endless Mirrors’, presents an intelligent and carefully constructed melodic piece. Bouncy kicks complement light harp lines and piano riffs, merging into a dreamy soundscape which takes us back to the times of Legend of Zelda.

Opening with a lumbering half-tempo bass anthem, Dreamlogicc returns for a third excursion on Kimochi Sound. Slow Goin resets the mood with a frustrated tape delay and hexagonal layers of chord. On the flip side, the artist employs Zui Quan style and a depraved schaffel on Bells In Their Hair... before closing out the record with the placid hypnosis of Sleepers Drone. Immense.

French modern-classical quartet astrïd return on May 10th with the first part of a new release entitled A Porthole.

Conceptually the two records work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a years time and will turn its attention to the night sky and constellations.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.

Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.

A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

• Aqua blue vinyl - limited to 300 copies w/ download code

• The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc)

• The artwork is extracted from an original one of a kind monotype print by Gizeh overlord Richard Knox.

What to say about THE PRESENT MOMENT? they are just one of the best synthwave bands of XXI century, and everyone knows that, maybe that's why some of their previous releases are being sold at obscene prices. After 5 years of painful silence, they are coming back with their 4th studio album, probably their most professional studio project to date, a very mature production where they play with their usual raw synthpop and ebm style but as well with more italo synthesque and even progressive rock ambiences. A truly masterpiece from any point of view. All tracks have been specially mastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

For the label to finally reach its 20th catalogue number is a seminal moment. To reach it with the original logo designer for Encrypted Audio and all round top gent is an even greater honour.

Mesck has a slew of releases on friends and family labels such as Chestplate & Crucial Recordings but with this release we wanted to create the feeling that no side was an A. Knowing Zach's style he did not let us down.

As we are referring to this release The Double Header..... 'Locust March' testament to the commanding way Mesck uses percussion and synth tones in a controlled fashion to create anticipation in the way they are used. In a track dominated and driven by a raw sub and mid punch combination that Mesck knows all so well. Joined by the equally amazing 'Fugazi'... There is no other way to describe this piece of art than EPIC.

Following on from the Bewildered 2018 Remix/Re-master E.P., respected 90’s D&B imprint Odysee Recordings presents its 2nd release in this series; a digital re-master and remix of No Tomorrow. Originally released in 1995 (ODY05), this track featured on the second E.P. under the ‘Mirage’ moniker; a collaboration between Jim Baker (Source Direct) and Odysee’s founder Tilla Kemal (T-Mirage).

The original is a timeless and well-loved classic from the golden era of the mid 90’s ‘Intelligent D&B movement’. It displays Jim’s celebrated skills as both a producer and an arranger to their full; building an emotive and haunting piece around two contrasting motifs. The trademark Source Direct breakbeat work is in play on this track as it switches between Clive Stubberfield and Lyn Collins; the curling drums providing the perfect framework for Tilla’s abstract sample selection to really breath and flow.

Andy Odysee’s modern remix retains all the original samples and references both the original break selection and the shape of the original arrangement. This modern D&B version then injects a turbo-charged energy into the piece with a huge undulating sub, aggressive techno-styled chord stabs and pounding kick & snare that thrust this track into the 21st century. The haunting sweetness of the piece is by no means lost, but the melodies are now presented over a framework designed with modern D&B dance floors firmly in mind.