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Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.

Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.

vailable on 7-inch red vinyl single (includes free digital copy on MP3). Vinyl is limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft.

After his acclaimed debut album in late 2017 and his explosive live set in Sonar festival this summer, Red Bull Music Academy discipule Clip debuts in Stale with a journey of powerful analogue textures straight from his modular. Clip offers uncompromising techno club weapons on Grip and Sand, while Detail focus his darkest and deep nightmarish trips. Falling Ethics boss P.E.A.R.L. completes the record with a brute and super effective rework for Grip, ready for shake the most vigorous club walls.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

Limited Edition White with Red vinyl w/DL
For fans of Electronic / Jazz hybrids like: Anenon, Arve Henriksen and RinneRadio

Transformation is the debut album from Parisian multi-instrumentalist Axel Rigaud.
Rigaud's style as a whole is the exploration of the crossroads of electronic music and jazz. By blending steady big bottomed analog synth arpeggios, shuffling beats, and swirling jazz influ- enced reed instruments Rigaud makes the juxtaposi-tionional a compelling and interwoven whole.
Only a few moments on the album does one genre eclipse the other. Even when this happens one finds that the sax or flute are being electronically manipulated or the elec- tronics have that all to special swing.
While seemingly new ground for n5MD Miles, Coltrane and Weather Report are often in the rotation at n5HQ. So it makes perfect sense that Rigaud has found a home for his debut on n5MD.

Dramas - Im Jahr 2016 Gegründet, Präsentierte Das Artpop-duo Dramas Mit Ihrer Im Frühsommer 2018 Erschienenen "libra"-ep Ein Großes, Emotionales Debüt Und Sorgte Auch International Für Aufsehen. Unter Anderem Wurde Die Erste Single "mess" Mehrmals Zur Nummer Eins Der Hörercharts Auf Einem Großen Berliner Radiosender Gewählt.
Nun Legen Dramas Nach Und Werden Bereits Als Eines Der Nächsten Großen Bands Aus Österreich Gehandelt. Die Neueste Single "midnight Sun" Ist Zugleich Auch Der Vorbote Auf Das Im Oktober Erscheinende Debütalbum "nothing Is Permanent". Getrieben Von Der Faszination An Unbewussten Gegensätzen Und Widersprüchen Verpacken Viktoria Winter Und Mario Wienerroither Darauf Inhaltlich Schweres Und Bedrückendes In Reduzierte Und Tief Bewegende Musik.

Oberman Knocks makes a welcome return to aperture records since his last release Dilankex in 2014, which featured an outstanding 17 minute remix from autechre.
Working on other projects during this time seems to have charged his creativity and Knocks now propels himself back into the fold for his third album Trilate Shift with cleaner, more polished production and a change of direction which should certainly see his appeal rise across a wider audience.
Last year Knocks produced the soundtrack to The Red Tree, an award winning documentary film from Still films (New York/Dublin) and in 2016 he was commissioned by The Lowry in Salford to produce a sound installation, 30 Days of The Smiths, forming part of their Week 53 festival, a version of which was also performed live.
Trilate Shift sees Knocks serve up fourteen lustrous tracks of proficiency and divergent ingenuity encompassing interjections of disembodied vocals, setting the scene for a distinctive musical trajectory.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.

From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.

With a string of resonating releases and progressively improvised live-shows, ANNANAN have been expanding and refining their stylistic range across gritty Acid psychedelia, explosive, dark-waving Electro and a raw blend of Techno and House that is as fierce as it is fragile. The duo's first album on their own imprint MACHINE JAZZ does take all of this into account - and yet it's crucially different to everything else they've put out so far. - You' is a captivating electronic pop adventure, an experimental amalgam aligning Anne Ghost's polymorphic lead vocals with Tom Aaron's vast and versatile analogue productions in unexpected ways. Dominated by reduced rhythms and a carefully crafted melodic shape, the result of this dialogic fusion are irresistible, forceful songs that draw from diverse contemporary and traditional sources: you'll even hear Trap fragments, an R&B trained voice, reminiscences of the Knife as well as cinematic synth excursions. While exhibiting a broad set of moods, claims and longings, the LP attains emotive poignancy from beginning to end through its bold openness. Annanan's first album is stripped down, immediate and full of surprises - but don't you worry, there's no lack in bang either!










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This super cult spy thriller made in 1968 and directed by Fernando Cerchio was the third in a successful film series. Previous installments had featured excellent scores by Roberto Pregadio and Romano Mussolini. The master tapes of this incredible PIERO UMILIANI soundtrack were recently discovered in the composer's archives: combining jazz with 1960s beats, a hint of bossa, spanish style guitar, trumpet, sexy vocals and performed by the elite of the jazz and session scenes at the time, this score is a classic of its kind and a potential lounge music hit!

Kalita Records are proud and honoured to announce the first
ever and official reissue of Kallaloo's sought-after 1982
disco single 'Star Child', accompanied by interview-based
liner notes. Originally released on Jeffrey Turpin's
Trinidadian record label IDA, 'Star Child' has since become
highly sought-after by both DJs and collectors alike as an
invisible, yet astonishing piece of Caribbean disco. Unable
at the time to gain the traction and success that it deserved,
we hope that this re-release provides an opportunity to bring
such a great record to a much wider audience.
Kallaloo consisted of various Trinidadian musicians including
Keith Alexander and Peter Wayne Barkley. Keith had been
well-respected as a member of the Trinidadian group Impact, and
was later to become an in-demand producer and composer under
the name of Keith Diamond, responsible for various hits by Billy
Ocean, Donna Summer, Starpoint and Melba Moore. In contrast,
Peter was a well-known recording session drummer, but after
'Star Child's' release he moved to North Carolina to pursue other
interests and 'was never heard from again'.
'Star Child' was recorded at Right Track Recording, in mid-town
Manhattan, New York. As Jeffrey recalls, the atmosphere in the
studio was 'great', with 'everyone upbeat, the cream of the crop
just looking for that break... everyone was talented and just
wanted the chance to express their own ideas'. Five hundred
copies of the record were released on IDA with a white label
design, and they were sold both in Brooklyn, New York and Port
of Spain, Trinidad. It was also released on a red label, however
this was not to Jeffrey's knowledge at the time.
Jeffrey explains that the reason why the record didn't fare well at
the time was because of the difficulty in getting the song played
on the radio. As he recalls, radio stations were much more likely
to play 'radio versions' of songs which lasted for a couple of
minutes, rather than five or seven minute 'extended' versions
such as 'Star Child', which were more suitable to a club
environment. In addition, as Jeffrey explains, radio airplay is a
'political business', and also within a short while band members
such as Keith got their own breaks, and the Kallaloo era was over
as quickly as it had started.

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

"It's Maths classes. A red-haired boy sits in the back, rhythmically tapping his fingers on a table like a madman. Although other students' eyesight is focused on the formula being written on the black-board, the boy could not care less. Out of a corner of his eye he notices as the sequence of numbers slowly begins to melt off the blackboard, glittering with colours, and finally spills all over the floor like a fractal leakage from some other dimension. Students from the first rows, scared, put their legs up - and then you start to hear the rhythm. The sounds, once set free, feedback from the walls and find their way to all chinks and cracks, circle all around to finally reach the teacher's ear. The lady cannot stop the upcoming fury, grabs Krzysztof Ostrowski (number 28) by his ear and circumventing the leakage she leads him out of the classroom. It's not the first nor the second time such thing happens. Years later, the boy finally sits by the machine; subtle light comes through the window slightly ajar, the curtain dances with the wind. Krzysztof, bent, is programming the rhythm."
It's warm and bright Autumn of 2018 and Krzysztof emerges again, this time on vinyl released by Jacek Sienkiewicz's label Recognition. The experimental style of "Primary Fluctuation" might come as a surprise to many of Jacek's followers, but there are surely some common features for the two art-ists - from attention to detail to a kind of serious melancholy present in their music. Ostrowski's rec-ord is a journey through futuristic polyrhythm, with enough space for menacing basses or unorthodox samples, reminding the aesthetics of fusion of broken techno and bass music championed recently by the labels like Timedance or Livity Sound. Four tracks (five in digital version) make up a cohesive, intriguing and surprising record, announcing series of special releases prepared by Recognition for the forthcoming months. ,

Spectral Empire are George Thompson (aka Black Merlin / Karamika) and Kyle Martin (Vactrol Park / Land of Light). With the release of Iron Muscle they are celebrating 10 years since their debut ep Innerfearence saw the light of day in 2008 on the now defunct THISISNOTANEXIT record label. Legend tells all track were made around the same time (2008-2009), at what was back then Kyle's studio in Archway, London, however opinions remain divided over the validity of this info. What is remembered for a fact is that they'v used practically every home appliance and improvised noise they could find, record and harness, in order to create the feeling of what they describe as a ' Robot walking' for the title track Iron Muscle. Anything from kitchen drawers to DVD's and cutlery was sampled and then drenched in effects and manipulated in order to create what came out as a cinematic futuristic piece to dive into again and again, a soundtrack for an unwritten sci-fi movie, or just a dramatic soundtrack for your everyday lives.. With See the invisible, rules do not apply. An arpeggiated groove sitting on a steady half time 60bpm beat, its like the perfect soundtrack to the perfect car chase. Mediterranean riverbed guitars- not-guitars, sirens, and a heavy (dreamy) atmosphere fill the voids and keeps the track pushing forward throughout... The 4th track on the record is a never before seen the light of day epic remix by Die Wilde Jagd, that back then still included Ralf Beck (Unit 4) as an active member of the band (back when they were still known as Der Rau¨ber und Der Prinz). The release will be a vinyl only release, and is already getting massive support from the likes of Vladimir Ivkovic, Michael Mayer, John Talabot, Red Axes, Manfredas, Trevor Jackson, Lena Wilikkens, Man Power and many more...

Auch Auf Seinem Dritten Album Nutzt Sebastian Kramer Aka Redshape Den Für Ihn Prägenden Sound Von 90er-jahre-techno Allgemein Und Speziell Aus Detroit Nicht Als Zitat, Sondern Erzeugt Mit Seinen Neuen Tracks Ein Sehr Spezielles, Eigenes Narrativ: Düster, Gespenstisch, Und Doch Entschieden Romantisch. In Gewisser Hinsicht Ist "a Sole Game" Sogar Die Erste Echte Redshape-lp Überhaupt, Die Nun Nichts Mehr Imitieren Will, Sondern Sich Durch Selbstbewusstsein, Selbstreflexion Und Souveränität Ausweist. Im Klassischer Redshape-manier Begeben Sich Die Acht Tracks Von "a Sole Game" Auf Eine Reise Durch Nächtliche Welten Und Düstere Industrielandschaften, Durchzogen Von Seltsamen Stimmen Und Geräuschen. Eines Der Wichtigsten Ziele Lag Unüberhörbar Darin, Ein Nahtlos Perfektes, Ganzheitliches Elektronisches Album Zu Produzieren, Das Ohne Interludes Oder Typisches Füllmaterial Funktioniert. Entsprechend Warm Und Analog Klingt Die Platte. Letztendlich Setzt Redshape Damit Klassisches Songwriting Mit Den Codes Von Techno Um Und Macht In Seiner Musikalischen Entwicklung Einen Großen Schritt Nach Vorne.

RTRN II JUNGLE , the forthcoming album from UK DnB heavyweight trio, Chase and Status, is a cultural movement - inspired by British music and fashion of the golden years of Jungle music from the mid-late 90's. The two opening singles speak volumes on the project's ethos - with the hard hitting 'Retreat' ft. Cutty Ranks echoing in your ears long after hearing and the euphoric 'Heater' taking on the role of a single that already has the makings of a classic - with additional vocal support from General Levy.



The sound, project and accompanying documentary and installation, will draw on Jungle music whilst also transporting it into the present day, and re-vamping the genre for the modern day music fan. 'We will be representing DnB at it's most soulful, raw, and uncut level' (Will Kennard)

The news comes with a brand new documentary from the trio, filmed in Jamaica earlier this year, which has just been premiered by Redbull.