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Skylax Records Is Proud to Introduce You to the Sound of RotorMotor With Their Astounding "Dream Beams" Ep That Encapsulates the Essence of Early '90s Trance, Italo Disco, and Ebm, While Evoking the Nostalgic Sound of Kompakt From 2004 to 2007. Hailing From Ljubljana, Slovenia, RotorMotor Is a Dynamic Duo Whose Tracks Have Gained Popularity Through Their Association With Lesyeuxorange, Feinstoff, Sexy Dinosaur From Outer Space, and Esteemed Remix Luminaries Like Neurotiker. Prepare to Be Transported Into an Audio Realm Where Pulsating Beats and Infectious Melodies Collide. the Ep Kicks Off With "Size of a Photon," a Track That Encapsulates the Signature Sound of Kompakt in Its Purest Form. "Feel My Pulse" Follows Suit, Immersing Listeners in a Rhythmic Journey That Resonates Deep Within. One of the Ep's Standout Moments Is the Remarkable Remix by Italian Producer Amarcord, Recently Acclaimed for His Releases on Ombra International, Eskimo Recordings, and Curses' Excellent Compilation "Next Wave Acid Punx". Amarcord's Remix of "Flashblinded" Flawlessly Blends Breakbeat and Trance Elements, Resulting in an Elegantly Treated Sonic Masterpiece. on the Flipside, RotorMotor Collaborates With Pholia on "Flashblinded," Delivering Both an Instrumental and a Vocal Version. the Vocal Rendition Adds a Post-Apocalyptic Touch as Pholia's Robotic Voice Sings in Slovenian, Creating an Atmospheric and Haunting Experience. "Dream Beams" Is a Demonstration to RotorMotor's Ability to Fuse Influences From the Past With a Contemporary Twist, Creating a Sonic Landscape That Captivates the Senses. With Their Relentless Energy and Creative Vision, RotorMotor Never Ceases to Amaze. This Vinyl Release Is a Must-Have for Any Enthusiast of Electronic Music Seeking an Extraordinary Sonic Adventure. Grab Your Copy and Experience the Hypnotic Power of RotorMotor....

During our search for souvenirs from imaginary cities, we stumble upon other curiosities.


We present our new sublabel ‘Curio Cabinet’. A Series of 7-inch records in-between the Souvenir releases.


The first curiosity comes from Mills Boogie's moniker Sly Boogie. He kicks off the series with an Electro infused 130 bpm Dub track that asks to head nod at half speed.


Weird Dust juggles a solid stepper version of the Bushman Slyde track on the flip side. Heavy subs included!

The second in our Mr Bongo series opening the vault on classic recordings from the fabled Groove Merchant Records catalogue. This time the spotlight turns to the Hammond B3 organ maestro Lonnie Smith, as we proudly present a reissue of his cosmic jazz-funk journey, ‘Afro-Desia’.

Originally released in 1975, this much-loved album was produced by Groove Merchant label owner Sonny Lester and features the mysterious 'Compliments Of A Friend' on guitar. Considering Smith was part of George Benson’s quartet in the ‘60s, that not so discreet veil appears to have been lifted on who this ‘friend’ might be. However, presumably due to contractual reasons, Benson had to remain covert for this recording. The lineup doesn’t stop there though, with the likes of legendary bassist Ron Carter and Grammy award winning saxophonist Joe Lavano joining the outfit.

An album of two parts, the first side sees Lonnie Smith in a spaced-out, cosmic jazz funk setting. The opener 'Afrodesia' is a funk flexing, steamy groover. Greg Hopkins and Lavano trading off on trumpet and sax respectively, as that bassline walks its way over fluttering jazz percussion and off-kilter electronics. 'Spirits Free' is an epic 15-minute free-wheeling jazz-funk workout. A mind melting trip that rises and falls, in parts spacey and serene, with Smith’s organ playing complimented by stretched out horns. Before long it opens out into unconstrained fluid sections that do its title proud. Pure ‘70s jazz-funk at its most stellar.

Side B takes a more classic soul-jazz flavour, with touches of Latin spice. 'Straight To The Point' kicks off with a carnival zing, full-frontal horn and organ lines providing a fiery party punch. It’s a swinging jazz cut that used to receive spins by DJs at Russ Dewbury's Jazz Room's sessions in Brighton in the ‘90s.

Finally, 'Favors' and 'The Awakening' close out the release. Two sure shot, quintessential Lonnie Smith firing Hammond grooves. Each conjuring up images of packed out, smokey jazz bar jams, every player letting loose with masterful improv sections to whip the crowd up into a frenzy.

A truly wonderful album, and an archetypal release showcasing the height of jazz musician excellence from this era.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

REISSUE OF THEE HEADCOATS' FINAL ALBUM IN THEIR ORIGINAL INCARNATION! Originally released by Friends Of The Buff Medway Fanciers Association Records in 2000! The final studio release by Thee Headcoats (until last year's Irregularis: The Great Hiatus) gets a long-awaited vinyl reissue! Includes eleven Billy Childish originals plus a cover of Bo Diddley's 'Great Grandfather'! Recorded at May Road & Red Studios. Engineered by Graham Semark. "Thee Headcoats, who put out their first album in 1989, have recorded raw, primordial romps that seem inspired by American Delta blues musicians like Sonny Boy Williamson or the Southern swamp rock of Hasil Adkins, while maintaining a decidedly English sound. They've recorded under a slew of monikers, and issued an amazing discography of full-lengths, EPs, 7"s, and what-have-you for virtually every cool indie label since they formed (including US-based labels like Sub Pop, Get Hip, Sympathy for the Record Industry, and K, among others). Whether he's covering songs with a Bo Diddley beat, garage rock chug, or playing one of his angry young man/dysfunctional family rantings ('The Day I Beat My Father Up', for example), Billy Childish has built up a solid and somewhat rabid fanbase by releasing songs that you wouldn't normally think would attract a huge audience to begin with. However, I Am the Object of Your Desire has the distinction of being the last album by this band, as their prolific leader Billy Childish moved on to a new band; they're called the Buff Medways, which is apparently an ancient and now extinct breed of chicken which had feathered legs. It's also the name of the UK imprint this record was released on. This collection kicks right off with the album-titled track reveling in pure Headcoats fashion: that warm, fuzzy vibrato guitar with Childish's fuzzy, electronically distorted voice (an effect repeated throughout the album); Johnny Johnson's soft, flowing bassline; and Bruce Brand's primeval drums. The group keeps this sort of mid-tempo riffage going for the next couple of tracks. Johnson plays a mean harp on 'Hurt Me (Slight Return)', but things don't really take off until 'In a Dead Man's Suit' and the swaggering, Texas blues 'Chatham Town Welcomes Desperate Men'. The band's punk roots show up in songs like 'An Image of You' and 'Your Crying Means Nothing to Me' while 'Come into My Mind' has a definite Kinks influence. All in all, an excellent album from this soon to be sadly missed band." - Review from 2000 by Bryan Thomas (All Music Guide)

Factor City kicks off its third decade in full swing, led by Undo solo and accompanied by its usual partners Casiowaves and Vicknoise.

It all began in 2003 when Undo & Vicknoise laid the foundation for the label with "Noctámbula," and over the years, they continued to collaborate closely, managing the label and producing "hits" such as "Orca" or "Happy Monday." From 2011 onward, following an amicable parting, Undo began to run the label solo while maintaining the same spirit and distinctive sound of the Barcelona-based label, always at the forefront of dance music produced in Spain.

Now, in 2024, in a "digital” world where fewer and fewer things can be touched with our fingers and where 100,000 songs are uploaded to Spotify every day, Factor City is charting a different course and starts a new decade on the dance floors by returning to vinyl releases and persisting in their low key and relaxed approach, releasing few and carefully curated records from their artists each year.

“Ciudad Futura” opens with "Good Times," a track by Undo that radiates joy and positivity. An euphoric ride through landscapes of analog synthesizers and drum machines. The second track on side A is signed by Undo & Vicknoise, who hadn't produced together in 15 years. And we hope they won't take as long to get back in the studio together after hearing the fantastic track "Electric Rainbow." A delightful slice of electro-disco. The B side is signed by the recent combo of Undo and Casiowaves. The first track, "Secret Worlds," follows in the wake of their recent releases on Factor City and Melodize with that winning combination of retro 80s and 90s synths with vocoders and a more contemporary production. Closing out the record is "Astralia," a vibrant "power synth pop" anthem adorned with FM synths and acid-tinged melodies. Thanks for listening!

Scottish Techno wizard Astro joins PIFF Records on their landmark tenth release, with 5 cosmic and groovy belters.

Having recently found success with his own Neptune Discs imprint and regularly performing up and down the country, Astro has firmly established himself as one to watch in the techno sphere.
Opening with the title track, Astro combines a relentless bassline with dubbed-out chords and spacey leads. Echoing space-age soundscapes and futuristic sounds of 70s kosmische musik and 90s techno, Astro makes good on the aesthetic promised by his artist name.

Astro brings down the tempo for the hypnotic Cloned Substance. A mesmerising hat pattern combines with delay-drenched leads and a bouncy bassline to create a track intent on capturing the listener in a state of trance.

Thunderstorm adheres to the tried-and-tested Astro combination of a thick bassline, spacey stabs, and continuously evolving drums. As to be expected, the results are spectacular. Irresistible grooves and rich soundscapes are the order of the day as Astro delivers once again.

A haunting and proggy FM-lead acts as the foundation for Pluto, underpinned by a sub-heavy kick and tranquil chords. The meditative ebb and flow of various elements masterfully expresses the solitude of the track’s namesake.

Planetary Blitz closes the EP as a digital bonus track. Expanding on the spaced-out motifs of the previous track (as reflected in the track title), Astro substitutes chord stabs and warm basslines for a driving blend of punchy kicks and a subtle glittery guitar.

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and 2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks” and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’. Doing exactly what it says on the tin, ‘Classic Disco’ mixes 12 undeniable dancefloor landmarks on 140g orange vinyl, from recognizable names like Change, Manhattan Transfer and Cheryl Lynn, with deeper cuts from exotic names like Dr. Buzzard's Original Savannah Band (an early incarnation of Kid Creole!), The Peter Jacques Band and Double Discovery. And as if to prove a cool Disco track could come from anywhere or anybody, ‘Classic Disco’ also features an essential re-edit by The Glitter Band!

Belarusian producer Four Walls is back after a seven-year hiatus. The first time around he made some standout cuts for the likes of Traxx Underground and Kolour LTD but this time around he finds himself on the new Ultraworld Records imprint from DJ Craft. This one kicks off with the lush prog house and silky synth arps of 'Mind Charger' which soon takes you to the stars. 'Metamorphosis' is a more raw-edged and acid-laced techno stomper for peak time action and 'Summer Nights' is a bubbling, elastic tapestry of new age overtones, thudding kicks, and trance-tinged pads. A remix by Toronto-based Pletnev adds another dimension to this club-ready EP.

Jamwax presents the resurrection of a hard-hitting space synth masterpiece that's set to ignite your senses and shake the very foundations of sound systems worldwide. 'In Ting Sound' is a sonic juggernaut, a hard-as-nails sound bwoy killer that refuses to be confined to the constraints of time. With its pulsating beats and infectious rhythms, this track commands attention from the moment the first note hits. But it's the heavy drums that truly set it apart, pounding with relentless force and driving the groove forward with unstoppable momentum.

Get ready to embark on a sonic journey like no other as this reissue comes with three exclusive unreleased tracks :
'Mandela': Feel the pulse of liberation with this uptempo digital killer, featuring Winston's impassioned plea to "Free Nelson Mandela...he never done no wrong, he is just a conscious man..."
Let the rhythm of justice resonate as you groove to this powerful anthem of freedom. 'Life All Over': Flip over to the B-side for a digital roots tune that- hits hard with its strong bassline and conscious lyrics. "Life AllOver" dives deep into the essence of existence, delivering a message of hope and resilience that reverberates with every beat. 'Finnegan' aka 'Life All Over Dubwise': Prepare to enter the realm of dub mastery. The second part of "Life All Over" takes you on a journey through the echoes of space and time, where the music transcends boundaries and the spirit of dub reigns supreme.

About Winston Fergus : Winston Fergus, a stalwart of the UK reggae scene whose career spans over four decades. Winston kickstarted his journey in 1976 as the vibrant lead singer of The Equators, renowned for their iconic track 'Father Oh Father' released under Joe Sinclair's esteemed Klik label. Not only did The Equators make waves in their own right, but they also provided the musical backdrop for rising star Pablo Gad, solidifying Winston's reputation as a mentor in the industry.

In 1977, Winston ventured into solo territory with the soulful release 'Give Me Love' on Jah Jah Bus, marking the beginning of a prolific solo career. Lightning Records recognized his talent and signed him, resulting in the release of 'African Woman'. Throughout the '80s, Winston remained a prominent figure, collaborating with luminaries like Clement Bushay, Clive Stanhope, and John Dread, producing hits such as 'Jezebel Woman', 'Keep On Dancing', and 'Hope For The World'.

In the late 80's, Winston's entrepreneurial spirit led him to establish his own imprint, Fergie Music label, marking a new chapter in his illustrious career.

2024 Repress

Finally Repressed. One of the Most Sought After Releases From Rutilance. Secure Your Stocks !...

Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29, 2024 via Carpark Records. What’s For Breakfast? is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting.

Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with What’s For Breakfast?, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP.

Lead single “One Call, That’s All” kickstarts with frenetic guitar-driven intensity. While the track slyly takes its name from the slogan of an ambulance-chasing Mississippi lawyer, May sings of unrequited love and phone-based ennui. “It’s a fast tempo pop-rock song that isn’t like anything I’ve done before,” says May. Elsewhere, opener “You Already Know” showcases May’s goofball lyrical charm with lines about playing chess online and looking like a Dawson’s Creek character. Beyond the jokes in the song, there is a bittersweet recognition of time passing and a call to action when May sings, “Now you already know what time it is / It’s time to live your life / Cuz it’s flying by / No matter the day, week, month or year / It’s time to do a lot / Ready or not.”

What’s For Breakfast? marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”

Whitney Houston’s self-titled debut album has few parallels. Viewed solely through the lens of sales numbers, Whitney Houston is a watershed statement on par with the most commercially successful and culturally dominant LPs ever released. Having sold more than 14 million copies in the U.S. and upwards of 25 million units worldwide, the 1985 LP became the equivalent of the television show or blockbuster film that everyone collectively experiences and discusses. Nearly four decades later, it’s lost none of its appeal or magnetism — and its artistic significance and historical import have only grown.


Sourced from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g SuperVinyl LP of Whitney Houston presents the breakthrough in audiophile sound for the first time. The signature traits Houston exhibits on every song — her three-octave range, radiant warmth, personal conviction, impossibly controlled register — come across with exceptional clarity, focus, and presence. Free of artificial ceilings and constricted dynamics, this reissue plays with an openness, airiness, and balance that put the singer’s once-in-a-lifetime instrument and immortal artistry into proper perspective.

It does the same for the songs’ cascading melodies and captivating arrangements. Individually produced by one of four renowned industry veterans — Kashif, Micheal Masser, Jermaine Jackson, and Narada Michael Walden — each composition feels grander, closer, more genuine. A vocal spectacular, Whitney Houston benefits from the high-end characteristics of SuperVinyl, which include a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces. This is how an album that changed the direction of popular music — opening previously inaccessible doors for Black artists; bringing smooth-singing vocalists back into the mainstream; kickstarting a movement that soon included several “divas” who would command the charts through the early 21st century — should look and sound.

Though Houston’s seemingly effortless performances suggest otherwise, creating the record Rolling Stone ranks as the 257th Greatest Album of All Time wasn’t easy. Nearly 18 months were required to identify songs suitable for a still-unknown singer who did not fit into the conventional frameworks of the mid ‘80s. Confident, powerful, and prodigiously talented, Houston would forge her own parameters with Whitney Houston. In the process, she obliterated the stubborn lines between R&B and pop, Black and white radio. She dared to reimagine who could be a superstar and then went out and defined the role. Recorded for nearly $400,000 and released on Valentine’s Day, the LP exceeded the wildest expectations of those most closely associated with it — save for Houston and her family.

Having made her first public appearance at the age of 11 singing at a Baptist church, Houston understood pressure and knew her way around, inside, and through a song. The invaluable guidance and support she received from her mother, Cissy, an accomplished gospel vocalist who backed Aretha Franklin and Elvis Presley, are on display throughout Whitney Houston. They arrive in the types of authoritativeness, discipline, and diction rare for even most seasoned veterans — and unheard-of for a 21-year-old newcomer. Houston brings a soulful elegance, understated glamour, and in-the-moment rapture to every note. Moving up, down, or staying in the middle of the vocal ladder; channelling softness or sweetness; showing restraint or increasing the volume, she is a marvel of emotionalism, a dynamo who can seamlessly transition from one mood to another within a verse.

Though the 10-track LP largely concerns itself with the ballad tradition, Houston covers the bases, getting into an R&B groove on the fleet “Thinking About You,” turning up the heat on the duet “Take Good Care of My Heart,” and investing the contagious dance-pop confection “How Will I Know” with all the anxiety, hope, energy, and enthusiasm its lyrics demand. Featuring her mom on background vocals and Houston’s pitch-perfect tone, uncanny precision, and skyscraper highs (no AutoTune here, friends), the synth-based anthem propelled Whitney Houston into the stratosphere, the vocalist into regular MTV rotation, and the term “crossover” into popular parlance. The double-platinum single reached No. 1 on the Hot 100, Hot R&B, and Adult Contemporary charts — a trifecta that foreshadowed accomplishments that would ultimately crown Houston as the most-awarded female artist of all time.

Whitney Houston became the first album by a Black female performer to top the Billboard charts. It remained there for 14 non-consecutive weeks en route to claiming the title of the best-selling LP of 1986. It stands as the first debut and first album by a solo female artist to spawn three No. Hits, as well as the first album by a Black female artist to top the year-end charts in Australia and Canada. These are just a handful of the accolades — along with four Grammy nominations — that surround a set that also contains the unforgettable ballad “Saving All My Love,” string-accompanied “Greatest Love of All,” and sensual “You Give Good Love.”

As TIME observed in an article written two years after the album took the world by storm: “This is infectious, can't-sit-down music, and her performance dares the listener not to smile right back.” We’re still smiling.

DRIFT. Is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her 'techno-pop' EPs 'Black Devotion' and 'Genderland' released with Avant! records were the first explorations in finding the sound of DRIFT. but as the name suggests, is in constant flux. In 2020 'Symbiosis' the debut record was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channelling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a 'canvas to rewire the vision of the future as colourful and old, ceremonial and rust beaten. A shrine like ornament and clinical machine language plaited together.'. In 2022 DRIFT. Self released 'The nature of things', a 30 minute piece entitled 'CTRL/ Algorhythm of love' written and produced for designer Mona Cordes' 'Cellusion' show for London fashion week. "_a journey into the dark heart of the dancefloor. The glimmering bass-heavy trance of its opening section could be classic Underworld, while its ambient center is genuinely Eno-esque. And then it all kicks off again as a Berlin school style banger. It's terrific" says Electronic Sound Magazine. This year, 2023 will give birth to DRIFT.'s second album released with God Unknown records '11 points In Time' written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice. PRESS Louder Than War album review 'Symbiosis' (2020) "...blends passion with precision to create a tapestry of machine-made sounds that are bursting with ideas and filled with emotion. "We live in times where nothing means nothing," she sings on Visualise The Invisible. "And nothing is true." Never more so than now...Over the course of its ten tracks, Symbiosis draws from pretty much every strand of electronic music throughout its 50-year history" Shindig Magazine review 'Symbiosis' 2020 "A brilliant, fascinating album" Post Punk Magazine review 'Symbiosis' 2020 "is an exercise in disjointed meditation, a trip through the doors of the spirit lodge and inner workings of the human psyche." Pop Matters Review 'Symbiosis' 2020 "...One track in particular, "In Orbit", speaks to this new disturbing unknown we are creating. A distorted, three-note death knell drives it as repeated knocking seems to come from a dank tunnel. If it sounds bleak, it's likely also to be therapeutic and finds common ground with the entrancing industrial thud of Throbbing Gristle or Third Eye Foundation..."

The first-ever best of of Nim Vind is called Anthology 1 and is released by Sunny Bastards Records! This collection of audio medicinals created in a UFO vibrating in the Key of NV is guaranteed to blow your mind. Experience the energy and indulge in some Halloween candy with Nim Vind's 180-gram Vinyl album. This collection includes Nim Vind's most popular tracks from regular albums Fashion Of Fear, Stillness Illness & Saturday Night Seance Songs, along with some special versions or tracks that have never been released before. Nim Vind was introduced to Europe through Zillo Magazine and the Goth club "Pagan Love Songs". This led to the release of his first album, "Fashion of Fear", on Fiendforce Records Germany. The album was recognized by Metal Hammer UK, Maximum Rock n Roll and many other magazines that support underground artists. Rue Morgue Magazine (the world's biggest Horror Entertainment Print magazine) selected Nim's album "Saturday Night Seance Songs" as the Album of the Year. He has shared stages with the likes of Gary Numan, Filter, Blitzkid, The 69 Eyes, Todd Kerns (Slash with Miles Kennedy and the Conspirators), Peter Murphy of Bauhaus, and many more. The album kicks off with NV classic "Killing Saturday Night", which has garnered 1.7 million plays on Spotify and more than 330,000 views on YouTube. The collection attempts to showcase some of the songs that have been a part of his story, bringing us up-to-date with his current work. If you're a Horrorpunk, Goth, Post-Punk, Rock N Roll or Alternative collector, this collection is a must-have! Vinyl only compilation, for fans of MISFITS, JERRY ONLY, CHRIMSON GHOSTS, BLITZKID, THE OTHER.

HAVEN are proud to present the second record in their black label series focused on the crossover between sounds on the UK bass music spectrum and hard techno dynamics. This time UK break-beat maestro Mani Festo joins the label for the first time with an EP of hardcore-
inspired dance-floor weaponry alongside a remix from Swedish experimentalist PederMannerfelt.

The A side kicks off with 'Hunterr' with booming vocal cuts, pounding 4-4 kicks and break-beat rhythms sprinkled throughout for a prime UK hardcore and techno genre crossover slab of club material. This is followed by the Peder Mannerfelt remix where the Swedish legend brings his left-of-field sensibilities to the fore, submerging the vocals in to a ghostly high-frequency spectrum whisper alongside a looping bass-line and sludgy drum rhythms to close out the first side.

The B side starts with 'Swarmm' - a broken beat roller filled with screeching synth zaps and a mammoth break-beat in the second half. Up next comes 'Poison' with its eerie atmospheres and drones sat behind a 4-4 rhythm and charging break-beats in another dance-floor killer. Finally 'Machine' closes the EP with its syncopated electro rhythms and funky UK swing alongside chugging bass plucks and arpeggiated melodies in one more crossover hammer.

Get ready to experience the electrifying thrill of ''Return Of ElectroBass''! Straight out of Sunny South Florida where the low riders are fueled by the vibration of bass & the sweat of strippers. Exzakt x BFX is teaming up with international sensations Vema Diodes from Spain and the legendary Dynamik Bass System from Germany to deliver an adrenaline-fueled 12'' record like no other. Side A kicks off with the block-rocking beats of ''TIME TO COLLECT'' and ''REDLINE DISTRIKT,'' igniting the dance floor with infectious energy and mesmerizing rhythms. Then, brace yourself for Side B as Dynamik Bass System brings their signature ElectroBass sound to ''FAR FROM HUMAN'' and the mind-blowing ''ROBOTMACHINE REMIX.'' This collaboration promises a wild ride through the cutting-edge realms of electro and bass music, this is a must, in the bag, for any Electro fanatic!

Digging back into the Vinyl Fanatiks catalogue, we travel back to 2019. One of the most popular groups that we release on Vinyl Fanatiks – Mad Dog – which is comprised of Dave Wallace from Aquasky and Shaun O’Hara from Aurora. The repress of this EP was funded by a Kickstarter campaign and each copy was hand stamped and numbered. Due to its popularity, this never went into distribution back then.

Originally released in 1993 on Underdog Recordings out of Bournemouth, this was a big Bukem track from that time, played twice in his Dreamscape New Years Eve set as midnight struck! Created in the Avon Studios in Charminster, Bournemouth, where two thirds of Aquasky lived and Underdog Recordings was based. There was even a pirate radio being broadcast from the attic too! The House Of Rave as we all use to call it.

This studio was also responsible for the Fugitive releases, the early Moving Shadow Aquasky releases as well as the home of Stormtrooper Recordings – a UK Happy Hardcore label featuring The Rebel Alliance (which was also Dave and Shaun!) Who would know Bournemouth was responsible for so much of the UK’s dance history!

Only 140 have been pressed on 180g pink marbled vinyl.

MOFAK, the funkiest producer from the south of France (Marseille), is back with a double Modern Boogie single just the way we like it!

A side: the bass of the single sets the tone over a fat beat featuring the vocals of Saïd (IAM) and Elois Scroggins! The vocoder gives us a real treat, and the chorus takes it all in and sets the dancefloor alight!

B Side : Big beats and groovy bass are the recipe for the intro, then AprilSoul takes it all in when the synthesizers kick in! Mofak on vocoder lifts the track, then the chorus kicks in and keeps us on the edge of our seats until the awesome guitar chorus forces us to play Air Guitare ! !

With this double single, Mofak confirms his Modern Boogie level of production and makes it clear that we'll have to keep a close eye on him in the shops.

Hailing from Brittany, historical center of France's industrial scene and in close proximity to Belgium's infamous rave and EBM innovations, Ekors set out to deliberately blacken and burn the sophisticated sounds emanating from Paris. With releases on Amsterdam's harsh Leyla imprint, fellow French hardcore iconoclast Umwelt's Flesh or Die, and JoeFarr's User Experience, the trio undoubtedly made their name in their lonely redoubt in the timberland, and Rant & Rave is honored to host their theme EP, Forest Killers, as our fifth release.

'Woodchip' conjures nightmares of dead bodies run through a woodchipper rather than more pastoral scenes, its distorted kicks, bone-crushing bass and blasted-apart leads chopping air and anyone unlucky enough to stand in its way. Title track 'Forest Killers' is murderous, the lurching breakbeat and shrapnel percussion approaching like axe falls ever closer until the horror score melody enters, then accelerating frantically as the killers close in. 'Evil Sapp' only seems subdued in comparison, its hammering techno pulse providing scant breathing room as industrial machinery fells nearby trees. Self-explanatory 'Chainsaw Requiem' ups the discomfort as the titular tool buzzes overhead, more Texas Chainsaw Massacre than weekend warrior woodpile work. Amidst squalling leads, ricocheting percussion, fearful blasts of noise, and pounding bass and kicks, Ekors escort us out of the haunted wood, sighs of relief and evil laughs joining in chorus.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

7” vinyl single w/ colour sleeve. For Fans Of Garage Punk, Power Pop, New Wave, Cheap Trick, Dollyrots, Pretenders, Go-Gos, Kate Bush, The Muffs, The Bangles, Larkin Poe. Josie Cotton’s Kitten Robot label issues their first 45 rpm 7”, and it’s a split between two of the label’s fave ladies: Josie her own bad self and Hayley and the Crushers. Josie’s song is the title track of her latest full-length, the Crushers issue a rowdy Iggy Pop cover that is also their latest digital single, releasing on Halloween of this year. Said Thoughts Words Actions of Day of the Gun, “The result is Josie Cotton’s signature sound, both timeless and contemporary, showcasing her ability to stay true to the roots while also pushing the envelope in new directions. Day Of The Gun is a masterclass in musical creativity and musicianship where Josie Cotton’s experience, talent, and ideas have come together to create an album that is both diverse and cohesive.” Meanwhile, Faster and Louder had this to say about Hayley’s recent LP. “Modern Adult Kicks makes it sound like Hayley and the Crushers have fast-forwarded ten years since 2020. This album doesn’t wallow in misery, but it confronts some heavy stuff...all the while reminding us to keep dancing no matter what happens

Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.

Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.

For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'

Following her contribution to this Spring’s Gudu & Friends Vol. 1 compilation, Lady Blacktronika steps out with a full EP for Peggy Gou’s Gudu label.

Whether operating as Lady Blacktronika or her Femanyst alias, Akua Grant has built a deserved reputation as one of house and techno’s most daring and unique artists - one that dates back 25 years now, when she first debuted as a vocalist.

“House and techno” can be a cliched catch-all term, but in Grant’s case, she really has explored the extremes of both sides. Her early Lady Blacktronika work, when she earned the nickname The First Lady of Beatdown, saw her produce and narrate a style of deep house that was both sensitive and transgressive, while as Femanyst, she explores some of techno’s darkest corners, all distorted kicks and serrated edges.

Her EP for Gudu kicks off with some serious intent: ‘Baby I Got It’ chops its vocals rough and raw, pairing them with marching drums and the sort of idiosyncratic synth-work that feels like a Blacktronika signature at this point. ‘Sing the Blues’ and ‘Hold My Hand’ take things smoother, but without ever deferring to type — as ever with Grant’s music, she works with such sleight of hand that it’s easy to skip back three minutes previous and wonder how the hell we got here. Her tracks are just that hypnotic and hallucinatory.

Closing the EP, Octo Octa provides a remix of ‘Hold My Hand’ that extends things to a full 12 minutes (note: slightly shorter on the vinyl due to time constraints), taking us out with crushed percs and held pads over some undeniable drum work.

This EP marks the final release of Gudu’s busiest year to date, with music on the label in 2023 coming from Special Request, Matisa, Mogwaa, Hiver, Matrefakt, DMX Krew, Dukwa, Brain de Palma, Lady Blacktronika, Salamanda and Closet Yi.

This split release between Frustrated Funk and Indulge Records sees FF head honcho klen Ovatow reconnecting with Indulge's Oliver Kapp, a link that was established all the way back in the mid/late 90s. Celebrating with a remastered version of Kapp's Piston Rings (ME-01), one of the tracks that kickstarted the Indulge imprint in 1996. And on the FF side Ovatow reshaped Kapp's The Trail into a 12 minute deep dive. Obviously not your typical techno.. Beware!!..

Egil Kalman has levelled up on this one; we were stunned by his last solo opus, and on ‘Forest of Tines’, the bassist/synthesist has traded the EMS Synthi 100 for the Buchla Series 200, recording at Stockholm’s illustrious Elektronmusikstudion (EMS). Here, he builds on themes he explored on his debut with a generous 20 track double album that marks firmer lines between Scandinavian folk music and contemporary electro- acoustic minimalism.

Using woody, synthesised tones that gradually open into sawing wails, Kalman suggests harmonies that lie between the 17th century polska and earlier, pre-Renaissance sounds, mimicking the tonal and textural fluctuations of strings with advanced tuning and sequencing techniques. There are plenty of artists delving into the past to unravel their identity, but Kalman’s approach is refreshingly unadulterated. He recorded the entire set on the fly, using just spring reverb to add extra texture, without overdubs or modern DAW-style layering, the Buchla 200 played almost like an acoustic instrument.

There’s a glimmer of vintage acid on the lithe ‘Dub One’, a complex, rhythmic experiment that lashes its pulses together with willowy portamento slides. And on ‘Klystron’, he absorbs warehouse techno’s architectural oomph, splaying psychedelic, reverberating ascending sequences over jagged kicks; listen carefully, and there’s something else going on in the background too, as Kalman meets his stabs with flute-like echoes. It’s a peculiar cocktail of ideas and provocations: ‘Mbira’ finds the composer shaping his synth into dusty, fluttering hits that resemble the titular Zimbabwean finger harp, and on ‘Drums’, he pipes pre-recorded percussion through the system, triggering its oscillators and helping shape its rhythmic patterns. He’s most comfortable when he’s mines a hazier past, ‘Autumn Leaves’ is a mystickal, just intoned droner that harmonises with Mattias Petersson’s awesome ‘Triangular Progressions’, and ‘Subtines’ sounds as if Kalman has deployed his instrument in a subterranean crevice, resonating his rumbles around synthetic water droplets.

If it’s uncanny court music you’re particularly interested in, there’s plenty of that too. ‘Polska’ is another sublimely hauntological Swedish folk interpolation, while closing track ‘Ocquet’ appears to blur Kalman’s ideas more thoroughly, melting folk phrasing and peaceful, uneasy drones to draw us to a neat conclusion. Soft-hearted but animated, it’s modern electronic music that isn’t afraid of employing vintage techniques to suggest new directions.

Warehouse find!

While the German producer Martin Matiske averages a new release under his given name every few years, there was a long stretch of time in which sightings of his Blackploid alias were much more rare. After dropping an EP for Frustrated Funk in 2006, fans found further material hard to come by over the next decade or so. However, Matiske has reinvigorated Blackploid in recent times, with the project making a few compilation appearances and dropping a couple of EPs across 2020.

That run now culminates inCosmic Traveler, a four-track affair which marks Matiske's debut appearance on Sheffield's Central Processing Unit. Given the long wait, it's great just to see Blackploid back among the fray once again. But for the project's CPU curtain-raiser to be an EP of such high-quality techno jams? Now that really is spoiling us.

Cosmic Traveler's title nods towards the sort of stargazing aesthetics one finds in classic Detroit techno. However, while there are undoubtedly ties to the Motor City in this music, the record ultimately steers less towards spacious atmospherics and more towards the taut, lean machine-funk of seminal practitioners like Dopplereffekt.

Matiske sets his stall out from the off. Opener 'Electric Engine' begins with a run of stiff-necked 808 kicks before hissing hi-hats, a grizzly bassline and all manner of futuristic sounds enter to warp the tune into hyperspace. Following cut 'Night Drive' repeats the trick of 'Electric Engine' but adds a pleasingly dinky synth lead in order to nudge itself slightly towards bleep-techno territory.

The two cuts on Cosmic Traveler's B-side are pure late-night goodness, a pair of mid-set heaters primed for dark basements. 'Pleasure Activism' delivers on the promise of its title and then some, pushing the Kraftwerk template to extremes by bringing a load of gnarly synth lines into play over a wobbling acidic chug. Finally, EP closer 'The Race' is reminiscent of both the twisted machine-funk of Gerald Donald's Japanese Telecom project and the playful modern evolutions of artists like fellow CPU high-flyer Jensen Interceptor.

The resurgence of Martin Matiske's Blackploid project continues withCosmic Traveller, an EP of timeless electro-funk and techno.

FFO: Dopplereffekt, Japanese Telecom, Jensen Interceptor, Cardopusher

Meltheads have been spreading wildfire on stages in Belgium and The Netherlands for a good while now, driven by the metronomically tight rhythm section of Tim Pensaert (bass) and Simon de Geus (drums), and fuelled by the razor-sharp and skilful guitar of Yunas de Proost. And then there’s frontman Sietse Willems, a man born to be on stage, like Morrison, Plant and Iggy Pop in one brutal and gnarly package. On 9 February they will be releasing the long-awaited debut album ‘Decent Sex’. The album kicks off with the title track, linking Stooges to The Doors, and not beating about the bush: it’s going to be at breakneck speed, and it’s going to be loud. Just 30 minutes later, once the final notes of fever dream Melvin have died out, ‘Decent Sex’ leaves you knocked out on the floor after an insane trip along blaring post punk, visceral noise, sweeping psych and good old rock ‘n’ roll. Part of the world is already turning its head, as renowned radio stations like KEXP and Radio X Manchester are picking up songs like I Want It All and Theodore, and fellow Antwerp based rock legends dEUS took them on tour, even as far as London’s Electric Brixton. Influential music magazines like Visions (DE), Clash and DIY (UK) dug up superlatives – and comparisons to The Birthday Party – for Theodore, a song about looking for (self) love, but also about the mess drug use can lead to. All not very uplifting, and most themes return in several songs, like the dark side to relationships and sex (White Lies, Decent Sex), or toxic masculinity (Vegan Leather Boots, Theodore again) and even politics (No One Is Innocent, Arbeit). Pretty heavy stuff, but wrapped in the highly infectious and piercing guitar rock Meltheads are serving, it’s going like a bomb. Decent Sex is out on 9 February, followed by release shows in Belgium, The Netherlands and Paris. At the end of January, Meltheads will vigorously kick off the year with a show at the highly influential ESNS showcase festival, where the part of the world that is still in blissful ignorance will get to know the brute force of Meltheads.

Decent Sex by Meltheads, released 9 February 2024, includes the following tracks: "Vegan Leather Boots ", "White Lies ", "No One Is Innocent ", "Gear " and more.

Green Vinyl

A bass rumble seems to rearrange your organs like a spiritual doctor, fast techno kicks and a funky as hell percussion line emerge - it's the lucky 13th release on Lisbon's Para?so, this time by local mainstays Shcuro and Vil - the first, label co-founder, the second a longtime friend and impeccable DJ with a range that runs from dubstep to the hardest strains of techno and beyond. The opener track 'Rumble The Funk' evolves with infectious stabs and cut-up vocal and our legs can't seem to stand still. The groove continues on with the A2 'Recoil', a soulful, dubby, relentless ode to techno that feels authentic and purposeful. Emotional tones find their way in via a mysterious, melodic string, introduced in the breakdown. Dubbed out motifs, delay + feedback strokes make a welcome return on the appropriately titled 'Chime Dub' that opens the B side of the record: skippy rhythmic layers and a warm bassline complete the picture, string flourishes give us glimpses of radiant dancefloor revelations. On the B2 the duo's opener track gets the remix treatment by another exciting duo: Blasha & Allatt, who are the women behind the iconic queer techno raves Meat Free. They flip the original's melody into a rapid, dreamy affair, conveying an optimism that perfectly wraps up this solid record by continuing the celebration of collaborative work.

Making a remarkable step onto the CEP booth, Blame The Mono introduces their debut with a magnetic collection of two game changing original tracks. This release not only displays the duo's creative capabilities but also features melting remixes from Hermeth and the label head riko.

The release kicks off with the 'Kneebreaker Mix', showcasing a top-tier interplay of reese bass. The pushing bassline and dynamic vocals provide the track with its living strength. In addition to the effects, the midsection break-beat mirrors the timeless sound of Blame The Mono, showering the listener with unmistakable recognition value. Coming up next is likely the standout piece from the release. The 'Industrial Mix' manifests as a 117 BPM break, highlighting an remarkable synergy of hitting kicks, spicy drums, and leading vocals. This track radiates a rock and metal-inspired vibe, making it truly one-of-a-kind. Opening the B-Side is riko’s trance-infused remix, featuring consistent vocal shots from the original and a galloping bassline. In addition to the dub chords, the monotonous melody assumes control during the significant break in the middle, contributing a hypnotic quality to the track. Wrapping up the release, Hermeth introduces a techno-infused remix, characterized by powerful classic chords and a driving bass that sets the tone on the dancefloor. The original vocal and lead elements illuminate the track, firing it up with a distinctive flavor.

'London Accent' by Blame The Mono drops via CEP Records on 15th January 2024.

Kicking off our new Toolroom Trax vinyl series which celebrates the best releases from Toolroom’s sister label is Italian super-duo Twolate with the incredible new single 'Baila'. A straight-up 4 to the floor club shaker, with powerful hard-hitting drums, deep punchy afro vocals with carnival whistles and percussion hits that will turn the dancefloor into a fiesta. Two dance heavyweights collide on our next offering; best-selling house artist CASSIMM and Chicago house royalty Gene Farris for their latest collaboration 'Party People'. With numerous #1 singles and remixes on Beatport and Traxsource, CASSIMM returns to Trax with his notorious sound of feel-good, high-energy house music, team that with Gene Farris as he effortlessly delivers another irresistible vocal hook. 'This is for my people, my party people'. James Haskell kicks things off on the b-side with 'Check It Out'. With numerous releases on D4 D4NCE, LoveJuice and of course Toolroom, James Haskell is fast gaining support from the scenes top tastemakers including Bob Sinclar, Leftwing : Kody, David Guetta, Tita Lau and Dombresky to name a few. Gracing club hotspots around the world, James Haskell is set to top the charts with his Tech House and Big Room sound. Closing out the Sampler is Toolroom Trax A&R and Music Curator Danny Rhys with his percussive tech house weapon 'Sibali'. Following on from his 2021 Traxsource number #1 single 'Damn Good', in collaboration with house vocalist legend Mr. V. With releases on respectable labels such as Farris Wheel Recordings, Flashmob, HouseU and There Was Jack, Danny Rhys boasts high, feel-good energy, bumpy basslines, rolling percussion and infectious vocals that has since gained respect from AAA talents such as Gorgon City, TCTS, Kryder and of course Mark Knight.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

***After birthing Street Riffs, their hi-definition, hi-energy, statement from 2020, CCR Headcleaner turned inward. The retreat from the pro-studio to the home studio was partially by design and partially decided by global events. Cleaner is very much a pandemic album, more of a homespun head trip than its predecessors. At the same time guitarist, songwriter and spiritual center of the group, Lacey Emmanuel, left the Bay for the shores of Lake Michigan. By most accounts an apocalyptic live-band became by and large a home recording animal. This is most apparent when Headcleaner turns up the balladry. “Don’t Feel the End” is a proto-metal campfire anthem, and “Everyday” hovers somewhere between keyboard misfit John Bender and the White Album. Make no mistake, the record will still be filed under “Punk” at your local record shop. It kicks off with “the brining pt. 2” the hottest slice of Funhouse free-rock that the band has committed to record. “Too Much” gives us its jail abolition rap over a two chord hardcore stomp. In a town (San Francisco) that is experiencing something of a DIY pop renaissance, Headcleaner has always fought to establish the fact that they have actual songs. This is no 70s throwback, but instead an attempt to up the ante. Without all the rock histrionics, technical arrogance and misogyny can the rock riff deliver on its ultimate promise: heavy music for total liberation. All tracks were mixed and lovingly fucked with by none other than Eric Bauer at his Bauer Mansion (RIP) Chinatown SF.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Negative Time! The new 12" vinyl EP of Xenomorph has a name that suits our global crisis. The best way to face these dark times is through the therapeutic powers of music. This 3-track 12" EP is the harbinger for the upcoming album "Netherverse" in early 2024. Fans of Mark Petrick know what to expect for sure. Goa-trance with a darker twist, but still filled with powerful melodies, unique kicks and psychedelic effects

The opening track, Negative Time, is a musical interpretation of zero point energy creation and quantum physics. Cutting, yet melodic goa-riffs take the listener on a journey backward in time through a mix of darkness leading to a positively melodic final. Danger on the High Seas is a deeper, more straightforward technoish track where light and dark are doing a wonderful mating dance between the crests of the high waves. The song was inspired by the mysterious vanishing of flight-19 in the bermuda triangle. The last track, Lost In An Old Junkyard, is known to the people that bought the Carpe Noctem compilation on Suntrip. But now it is available on vinyl as well as a different mix: the Tow Hook Mix! This track is the most classic Xenomorph track. Alienated tearing effects, mixed with exalted melodies.

dirtybLends edition 8 is a 3 track INFERNO-SMACKDOWN combining 3 different ideas of new age/oLd scHooL Jakbeat inspired from a significant hero in the Chicago Underground scene of the early nineties dropping crucial releases on record labels: Saber, Dancemania and Relief.

The Falcon kicks the A-side into madness with ‘Sound The Alarm’ made 2 Jak 4 Crazies that’s completely bezerk n twisted!!
B1 introduces this nU cOhort to the label on this release comes from Grizzly Knuckles (a thuggish menace) bringing his weapon of choice musically in a hypnotic spell of mental riddims wit ‘Mad Bell’
this is chicago pit-tripping for those who are aware!
B2 brings The Jak as the final nail in the coffin to complete this 12 inch with ‘Aftermath’ that is for those who have any idea of SLaM dance body blows..this is that level of crazy!

—THIS ISN’T TECHNO—

UNDERGROUND Chicago TrACKs

Bryan Fury is back with a massive hardcore piece !
2 shots 45 RPM.

Massives kicks, perfect breaks and crazy drops !

After a two year wait, we proudly present Deepseries 1.3, the latest installment in our Deep compilation series featuring friends and family of the label. This atmospheric EP showcases the distinct sounds of Deeptrax, bringing together a curated selection of tracks that define the label's sonic universe.

Caim kicks off the journey with an unreleased gem, a calm and atmospheric track with a punchy kick. It sets the stage for an immersive experience, inviting listeners into its ethereal embrace.

Returning to Deeptrax, Mathijs Smit delivers a bass-heavy, emotionally charged track. A sonic return to familiar grounds, his contribution reflects the label's commitment to captivating, bass-driven soundscapes.

Joey Anderson makes a poignant return with a deep, emotionally layered track where instruments guide, inform, and inspire. His unique ability to infuse depth and emotion shines through in this standout contribution.

Rich P & Lee join forces for another V.A. installment, presenting a melodic house journey filled with dub chords. A perfect blend of melody and rhythm, their track is a testament to their signature sound.

Closing the EP is Pim Holthof's debut on Deeptrax with an atmospheric minimal house track. His contribution adds a distinctive touch to Deepseries 1.3, showcasing the label's dedication to sonic exploration.

Deepseries 1.3 is a culmination of artistry, emotion, and sonic innovation. Join us in this exploration of electronic music, where each track is a unique thread in the rich tapestry of Deeptrax Records. Welcome to Deepseries 1.3 - where the journey never ends.

Saint Abdullah & Eomac is a long distance, ongoing collaboration between New York based Iranian-Canadian brothers Mohammad and Mehdi Mehrabani (Saint Abdullah) and Ian McDonnell a.k.a. Eomac, based in Wicklow in Ireland. They tested the waters with their first album on Nicolas Jaar's Other People label last year, but 'Chasing Stateless' is their fullest expression so far.

The creative mindset behind the album starts with bravery and eschews escapism. Says Saint Abdullah's Mohammad, "As a collective, we exist to test the revolutionary possibilities within sound and sonic storytelling. As a means to finding a vision of the future and for building cultural dialogue today. Our belief is that the expressiveness of this vision should be pushed to its utmost limits to reveal anew. I always felt that the intensity of the middle eastern soul needs to be revealed more potently. Ian and the Irish have it too. I suspect most historically oppressed cultures do."

The music on 'Chasing Stateless' avoids easy middle eastern tropes — "I think what we're proposing here is that you don't need to water down our culture, you don't need to take only the bits that fit your idea of who we are, what we are. You ought to take it in its entirety."

Musically, the album approaches established genres and re-orientates them towards middle eastern rhythm and melody with an iron soul. Songs are rough and intense. Rusty polyrhythms, daf drums wrapped in a thick coating of distortion or punchy kicks with micro-edited samples of middle eastern life spiralling across them. Mournful melodies are squeezed out until the music teeters on the edge of rhythmic collapse. 'Chasing Stateless' is rough and energetic but also tender and reflective too. It's a human sound, utilising technology but not about technology. Sample heavy with expressions of anger, sadness and hope present and deeply felt.

The album's title speaks to a loss of collective societal imagination; of 'chasing status'. As Moh says "This generation, man, we're really good at putting up walls, despite all our openness. But where does this all lead to? What exactly are we chasing? This is where I especially love the name 'Chasing Stateless,' because if all this continues, we indeed will end up stateless, society-less, community-less, neighbor-less. Just a bunch of same-sies, living in an imaginary bubble, where we all look / think / say / CHASE the same things."

Stolen Body is delighted to be working with Bristol progressive psych and jazz legends The Brackish for their fifth album ‘Donor Zone’. Attempting to capture our live sound and intensity, Donor Zone was recorded live at gig volume without the tyranny of headphones. The album kicks off with an ADHD epic ' Willox for a new Age' , apocalyptic coda morphing into the fuzz bass drone of 'Donor Zone'. Forboding chord sequences set up ' J und J' before a gargantuan riff drops, motorik middle section developing into a highly satisfying ripping fuzz guitar finish. Last tune BUABB has the faved Tortoise/ beefheart stylings around a Kraut- inspired improv section. The single 'J und J' draws the listener in to a false sense of uneasy security with it's pensive and motorik sections before it's gargantuan riff payoff. The track shifts dynamically back to it's uneasy base, developing into an extremely satisfying and belligerent ripping fuzz guitar ending.