Поиск:rela

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

In this electrifying 2024, Flexi is still spinning, louder and prouder, as it marks 40 years of igniting dancefloors and fueling underground happiness. From its humble beginnings as a haven for vinyl enthusiasts to a cultural stronghold amidst the turbulent waves of the music industry, Flexi has become a name synonymous with passion, resilience, and the relentless pursuit of quality sound. To honor this milestone, Flexi’s indie label, Flexi Cuts, is dropping a second, limited-edition compilation. Aptly named "Musica Solida," this collection is spread across three or possibly four lush 12-inch samplers, each showcasing a handpicked selection of tracks from Flexi's cherished circle of artists and producers. This release is more than just a celebration; it’s a declaration—a call to arms to keep the spirit of the scene alive and thriving in Italy and beyond, against all odds.

"Musica Solida #2" doesn't just hold tracks—it’s got stories, moments, and grooves that demand movement. Each cut is a slice of that raw, unpolished energy that Flexi has championed for four decades.

Featured Artists on Musica Solida #2

Minimono: The powerhouse duo of Fabio Della Torre (founder of Bosconi Records) and Ennio Colaci take us on a hypnotic journey with their floor-filling "Before Morning." It’s the kind of track that keeps the dancefloor alive until the break of dawn.

DJ Rou: Going minimal yet impactful, DJ Rou delivers "Elastic Body," a dancefloor-ready cut that blends a stripped-back groove with robotic vocals—a futuristic twist that keeps things unpredictable.

Relative: Flexi’s proud owner kicks things off with an electro track that was conceived, birthed, and brought to life in a single whirlwind afternoon—an anthem for those who live for the moment.

Delphi: One half of the renowned Tiger & Woods, Delphi isn’t afraid to dive deep with a heavy-hitting house track, loaded with acid stabs and thick, pulsating basslines. A track that’s both a nod to the past and a push towards the future.

The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful red cover.

We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

ATFs first release for 2025 is a 3-track vinyl from A n d r o m e d a.

A1 / Andromeda ft. Cole - Cybserspace (170bpm, 45rpm)
This high-energy track at 170bpm blends driving rhythms with haunting dystopian samples, creating a gripping sense of urgency. The bold, evocative melodies take centre stage, offering a captivating contrast to the intensity of its high pace. Itll be alright, I promise.

B1 / Andromeda - Waveride (140bpm, 33rpm).
Coming back down to earth we relax a little for this chilled trancer at 140bpm. Weaving lush melodies with delicate percussion, creating an atmosphere of serene energy. Its laid-back vibe
invites listeners to lose themselves in its smooth, considered progression. Hardcore rave fans will doubtless pitch this up to 45rpm and include it in their rave sessions..

B2 / Andromeda - Time (170bpm, 33rpm)
The final track of the EP brings an uplifting end, pairing more vibrant melodies with the enduring vocal hook that gives the track its name. Balancing emotional resonance and renewed energy, it
leaves listeners on a high while closing the project down.

The time has arrived for the release of the long awaited EP by LEBA, with the prolific title - Into The Lights.

Carefully and thoughtfully crafted over two years, the legendary record producer of High Power Music, General Lee, teamed up with the magnificent Legends Sly and Robbie, to produce the daughter of legendary Jamaican Icon Toots Hibbert: LEBA.

This LP features 7 songs including a feature from Jamaican Portland deejay Blackout JA, on track "No one loves you like me", which was released in 2021. These songs carry you on a musical journey of time and space, on a dub and reggae background, which soothes the ears of its listeners, and gets them grooving to the bassline of the late Robbie Shakespeare OD and Sly Dunbar OD and Taxi Gang.

The songs paint a picture through conscious words and messages, heavy and spacey instrumentation, recorded & mixed at One Pop Recording Studio Kingston Jamaica by Rorey Baker. An atmosphere that will surely transport its listeners into the calm and relaxing space of reggae and dub music.

Jamwax is thrilled to announce the reissue of the iconic 45 RPM single “The Man Who Sold The World” by the Wally Brothers, originally released in 1974 on the Explosion label, a subsidiary of Trojan Records. This deep roots reggae track stands out with its unique orchestral strings, delivering a soulful and distinctive interpretation of David Bowie’s legendary song. Some even argue that this version surpasses Bowie’s original in coolness and creativity.

Produced by Desmond Bryan and Webster Shrowder, the Wally Brothers, better known as the renowned reggae band The Cimarons, brought their signature style to this remarkable track. Featuring Bobby Davis on vocal as confirmed by Locksley Gichie of The Cimarons, this version bridges Jamaican roots music with international influences.

At the time of its release in 1974, The Man Who Sold The World was relatively unknown to the general public, making this reggae adaptation a daring and unconventional choice. Decades later, Kurt Cobain’s unforgettable performance of the song during Nirvana’s MTV Unplugged in New York introduced it to a new audience, transforming Bowie’s original and its various covers, including this reggae rendition, into a cornerstone of music history.

Originally released in 1974
Licensed courtesy of BMG Rights Management (UK) Ltd.

The 5th-anniversary release of the renowned vinyl label Artreform marks a significant milestone bridging the past and the future. The label's head, JOSS, a DJ and producer based in Kyiv, continues to unearth talented newcomers. The latest release features a track by a promising Ukrainian newcomer, Wonkie, who is relatively unknown in the electronic music scene. Additionally, the release includes a remix by the European house music superstar IO (Mulen). IO first appeared on Artreform in 2013 with the ghetto banger "Criminal Stuff," leading to multiple collaborations with the label. Two years ago, IO revisited Artreform with a remix of JOSS's single "Justify." IO (Mulen) represents the esteemed history of Artreform while offering a glimpse into its vibrant future.

The new EP showcases a blend of past and future influences. The lead track, "I Meet Somebody," features Artreform's signature minimal house sound with a touch of classic progressive elements. On the other hand, the remix by IO (Mulen) incorporates a modern proto-trance style with hints of old-school UK breaks. "Tubular Bells" is reminiscent of JOSS' mixes, combining sophisticated tech house with trendy dream house vibes. Overall, the release adds new colors and nuances to Artreform's latest work and the label's esteemed back catalog, much like the eye-catching cover of their anniversary record.

You’re NEXUS 21, central to the dizzy zeitgeist of the 1991 adrenaline rammed UK House Music juggernaut, and you have just recorded a masterpiece of an album MIND MACHINES.

DON’T DO IT LIKE THAT - somehow even though your record label love the album it does not get released.
DO IT LIKE THIS - it finally gets issued now.

When Mark Archer and Chris Peat flew back from a seminal recording session at Kevin Saunderson’s KMS Studio in Detroit there was a palpable feel of excitement. Instead of merely paying homage to their Techno forerunners, they were now creating their own just as innovative waveforms.

In the can was a gem - DON’T DO IT LIKE THIS, DO IT LIKE THAT. Motor City songstress Donna Black had unconsciously seemed to add Ma to the start of her name and her recorded in the dark vocals helped conjure up an almost Madonna and a drum machine meets Techno hybrid. This it was agreed could be a huge breakthrough single which - preceded by strategically released set up tracks - would build up Nexus 21’s surely inevitable rise to glory. And the release of the MIND MACHINES album. But it never happened. Instead one day Mark and Chris burst into Network’s Birmingham office excitedly brandishing no less than 8 new recordings infused with a propulsive Rave energy flash compared to their more cerebral Nexus 21 work. The label agreed that the new tracks should be released under a new artist name and an initial suggestion. Alien 8 replaced by Altern 8. What was planned as temporary dalliance became a long term relationship. You all know the score - Altern 8 became surf riders supreme on the rave tsunami, not just music makers but myth creators. The plan has been to run Nexus 21 and Altern 8 parallel, a kind of schizophrenic experiment by two men, a drum machine and a mad for it record company. History shows that Altern 8 became too DOMIN 8 and the lovingly recorded Nexus 21 album was left on the proverbial shelf (actually a box in Birmingham)

So now MIND MACHINES finally meets the World. First thing that screams out that it hasn’t half aged well. Obviously it is a wet dream for the anoraks of electronica, that goes without saying. But above and beyond the history lesson of how 2 young UK techno mad kids got the dots from Detroit and deconstructed them to create something very British the music they created, sometimes naive but frequently knowledgeable, sounds .. well just great.

The four Detroit recordings - NEXODUS, TOGETHER, DON’T DO IT LIKE THAT, DO IT LIKE THIS and EVERYTHING (NO STATUES) - variously feature contributions from Motor City luminaries Marc Kinchen and Anthony Shakir.

Only two of the twelve recordings were properly released in 1990/1991 with two more making it on a withdrawn white label 12 inch at the time. Three of the tracks, including a live recording at London’s Brain Club that has been retrieved from a DAT that was thought to have disappeared, are previously unreleased. And as well as two previously unreleased much altered versions of Nexus 21 gems there is the legendary much tougher mix of the duo’s signature techno treasure Self Hypnosis.

NEXUS 21

LOST AND NOW FOUND

DLR drops his first album since starting Sofa Sound Bristol - ‘Money Till I Got None’.

The album is a tongue in cheek reflection on modern life, society, politics and of course MONEY. The never ending thirst and need for it; the stress and freedom it can bring; its power, its illusion and all its contradictions.

Drawing on life experiences from a relatively privileged position, but also from travelling and meeting many types of people across the UK and worldwide, the album explores different perspectives about money from varying sections of society.

In the 7 years since his last album, DLR has been through highs and lows, played big shows, struggled, released classic tracks and spent, spent, spent, spent. 'Money Till I Got None' is his journey of frustration and realisation and his first fully solo album in terms of production, but with a stellar lineup of vocalists and musicians to bring invaluable perspectives and experiences to the project.

Established poets, story tellers and MCs such as Fox, Rider Shafique, Jakes and Gusto bring unique insight, upcomers Freddy B & Kathryn Brenna add crucial flavours and we welcome Hal (Snazzback) on keys plus additional musical direction, with further instrumentation from Abbey Neave & Joe Bradford.

Next up on Intrepid Skin, MarcelDune readies four heaters direct from the scuzziest corners of the rave, out on Friday 13 December on digital / vinyl.

Based in London but hailing from Athens, they draw upon a lifelong relationship with music spanning jazz studies, opera singing, and the punk DIY scenes of their hometown.


In connecting the dots between these disparate aspects, they've committed to engaging with music that honours resistance and authenticity, and draws inspiration from those seeking liberation from oppression and societal frameworks.

With this new release MarcelDune hones in on the ethos that underpins their aesthetic, with touches of euphoria, huge drums, and quintessentially fun.

Title track 'Buy Success' brandishes raw serrated edges and an industrial core whilst never losing the groove. 'Remedy for evil' moves into bouncier feels with the hardest groove. On 'Tell Me Who They Are', vocal chops ricochet over angular percussion and glitching machines. Closing things off, 'Romantic and Other Fantasies' lays down some weighty percussion driving a madhouse of effects forward.

A bold reimagining of Scottish folk in a hypermodern soundworld, In a River Shadow blends prehistoric instruments, abstract electronics, and environmental recordings into a unique sonic landscape. The result is a futuristic, technoid sound that feels both organic and otherworldly, like a biomechanical artefact unearthed from a distant future.

In a constellation of influences including Yoshio Ojima, sunytty, and the hyperrealist work of Noah Creshevsky, "Birdhouse" is a dream of voices—human, non-human, and AI-generated—unfolding tranquillity into hallucinatory spectres. On "Star of the Sea," Poole confronts a complicated relationship with prayer by reworking the Catholic hymn "Hail Queen of Heaven, the Ocean Star," reformulating the prayer and stretching vocals to their limits, transforming the piece into a drum-driven, visceral interpretation.

Across this five-track EP, Poole combines personal exploration with collaborative influences, including a partnership with Considerate Digital, and collaborations with vocalist Celine Brooks and artist Gabo.

Music : Poole, additional vocals by Celine Brooks on Weila Waila, and Gabo on Selkie of Sule Skerry.

Two decades in, one of dance music’s most celebrated DJs, producers, label owners, A&Rs, broadcasters, and tastemakers has big plans for this anniversary. In June, Anja Schneider will unveil an expansive rework and remix package on her benchmark-setting imprint, Sous Music, some of her best-loved tracks are there in less familiar forms. Expect fresh takes from Anja herself on seven of her favorite tracks plus a wealth of heavyweight remixers: Paramida & E-Talking, Radio Slave, Scuba, JakoJako, Julian Muller, Cassy, Deetron, Leafar Legov, Erobique, Jaymie Silk and Ackermann all being part of the impressive collection.
“The project includes new versions of my favourite tracks from the last 20 years and remixers who have accompanied, influenced, and currently impress me. Each artist holds a special connection for me,” says Anja in anticipation of this milestone release.

Biomontana is just another moniker of the succesful duo formed by bassist Flavio Gemma and Massimiliano Bocchio (Urbanatribù). Based in Alessandria and devoted to all kinds of electronic wizardry, Biomontana, compared to Urbanatribù, is more related to their Progressive/Goa side. According to the artist, both records were only released as 2 different promo eps for just a few djs that were playing in the Indian state. As in the best "Goa tradition" the record had, on the flip side, a great slow tempo and acid infused number. Unfortunately the projects never had an official distribution until nowadays.

Introducing Access All Areas - FLO’s debut album. A body of work imbued with the girls unapologetic, contagious force.

Blending the rich tones and luscious melodies of R&B and soul with pitched up original samples, futuristic production,

contagious hooks and candid, relatable lyricism, the project feels like yet another arrival for the group.
Featuring songs such as ‘Walk Like This’ and new single ‘Check’, plus many more.

1 x 140g Crystal Clear Vinyl.

NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

The 1980s were an iconic era for electronic dance music, with each country delivering a wave of standout artists and producers whose names and music are now etched in music history. One of Germany’s notable figures in this scene was Mike Mareen, both a producer and performer, who also ran his own label, Night’n Day Records. Among the label’s successful releases was the now somewhat forgotten gem, Sammy Allen’s single “Slave To Love.”

Today, this record has become a sought-after item among collectors, leading to its reissue. The re-release not only brings back the original track but also includes a previously unreleased version from the original recording sessions, along with a special DJ Edit designed specifically for seamless mixing. This reissue is a must-have for both fans and DJs looking to revisit or rediscover a classic piece of German italo disco related music history.

Roberto Musci, born in Milan in 1956, studied guitar, music and electronic instruments. From 1974 to 1985 he traveled the world studying African, Indian, Arabic and Oriental music, recording ethnic music “in the field,” studying and collecting ethnic musical instruments from all over the world. His self-produced debut album, “The Loa of Music,” is a seminal work of staggering originality and extraordinary beauty in which field recordings, musique concrète, electronics, synthesis and instrumentation are interwoven, drawing on the countless musics from around the world that he has recorded. The subsequent “Water messages on desert sand,” composed with Giovanni Venosta, was nominated for a Grammy in the UK in 1987. In the 1980s and 1990s he broadcast ethnic and electronic-experimental music from Rai and Radio Popolare radio stations. He has also composed and played music for videos, commercials, dance, poetry, theater, composed soundtracks and accompanied silent films live. From 1980 to the present, he has played with many Italian and European musicians: Giovanni Venosta, Claudio Gabbiani, Walter Prati, Giorgio Magnanensi, Massimo Cavallaro, Massimo Mariani, Moni Ovadia, Roberto Zorzi, Chris Cutler, Jon Rose David Moss, Steve Piccolo, Elliott Sharp, Keith Tippett and the Third Ear Band.

The theme of travel, ethnicities and mysticism are a pivotal point in this new album of his as well, demonstrating once again how music needs absolutely no sharp lines of demarcation. The music is one.

It goes from the search for deep meanings in a time spent in a Hindu monastery (Ashram) listening to mantras and studying Buddhist philosophy (The Principle Of Things) to space explorations and human settlements on the Moon or Mars wondering how man will live and what he will bring to the new worlds imagining that Sufism, an Islamic mystical religion, will accompany him in the discovery of new worlds (Derviches On Mars). In Goodbye Monsters, harmony and peace are sought. Memories Of A Piano Player is a tribute to Keith Tippett, a great pianist (King Crimson , Centipede, Mujician) with whom he played in several concerts and with whom I spent evenings talking about music, food and Italian wine. Quantum State focuses on how quantum mechanics is creating a revolution in the way of thinking and dividing reality into infinite Parallel Worlds. Panthalassa is the vast ocean that surrounded Pangea and blends South American marimba music and traditional Chinese music. Burn The Shadows is a tribute to the fascinating Indonesian shadow theater, from the stories told and the atmosphere created during the long plays told in the sacred Indian texts of Ramayana or Mahabharata. Shadows are also more or less pleasant memories to which one is attached, and to burn them is still to move on with one's life.

Torajan Funeral Chant: The Toraja are a people living in Sulawesi (Indonesia) who have a special worship of the dead. Funerals are festivals that last several days, the corpses are protected by Tau-Tau (small dolls that watch over cemeteries), and over the years, they exhume the corpses of their relatives and keep them in their homes with them for a time to remember them.

The experimentation goes all the way to modern Artificial Intelligence that 'interrogated' to create something new by inserting conflicting inputs joins them together but nonsensically creating interesting insights; hence A.I. In Confusion. Pangea, named after the continent that contained all the land that emerged between 540 and 200 million years ago, in the Paleozoic and Mesozoic periods, imagined as inhabited by man without divisions created by borders, wars, religions or ethnic groups, is also a tribute to Steve Reich, one of the fathers and a great musician of minimal music. Prophecies, a reading of sacred texts and religious songs from evangelical sects in the United States filtered into granular synthesis with percussion music from South India, closes.

Favorite Recordings proudly presents this new 7inch single release, filled with 2 beautiful tracks previously compiled on the famous and now almost sold-out, AOR Global Sounds series.

First comes “What Its Meant to Me” by Jonathon Hansen. Self-produced and self-released in 1978 by Jonathon, this is another perfect recipe of AOR soulful style. Jonathon Hansen told us a bit about its story: “’What Its' Meant To Me’ was a song I wrote about the breakup of a band. As with a lot of my songs, I always write them to be about more than one thing. Primarily relationships. The song was recorded in Costa Mesa, CA at Sunwood Sound Studios. It was recorded with fellow bandmates and other musician friends.”

Another top track from the series comes next, with “It’s Always Something With You” by Jeff Silna. Originally only released on a promotional radio compilation, it was reissued by Favorite Recordings in 2017 on the 3rd edition of the AOR Global Sounds series and is still now in high demand. Here again Jeff Silna reminds: “This track was recorded at TK Studios, credited with the inception of disco music and pumping out what were considered the first Disco hits. TK created what’s known as the Miami sound. I was fortunate to work with some amazing musicians like guitarist Sheldon Stauber and players from the U of M Jazz Band, which was tops in the country at the time. My influences were funk and soul bands like Earth Wind & Fire and Average White Band.”

We're promised Mellow Magic and that's precisely what we get, across four tracks emerging from disparate corners of the globe but united in a common mission to provide beats that work on the more relaxed end of the dancefloor. Belgian duo Charlotte & Reinhard of Rheinzand fame kick things off with a slow motion Balearic version of a well known 80s MOR classic. Ollie Loudon's 'L.M.T.' finally makes it to vinyl after long being a secret weapon in Gratts' DJ sets, where handclaps and languid strumming meet a gentle but infectious groove. Flip it over for the more tracky affairs, as Japan's Lily Ko makes an impressive debut with 'Pure Rubber', an original mix of disco foundations and always snazzy but never showy 80s synth play. Melbourne's Biancolato finishes things off with understated deep house shuffling that adds just a touch jazzy keys and dreamy, wispy pads.

This is a repress of a highly collectable record that was originally released on A Guy Called Gerald’s Juicebox label in 1993. Over the years it increased in value, making it a holy grail within the hardcore rave/early jungle collector’s market.

But luckily Vinyl Fanatiks were already working with the producers on another repress – to be precise the SDR & Subsonic release of ‘Ideology/Abstrax’ which came out last year on the label. Both records were recorded by the same producers in the same year, under two different artist names.

Digital Pressure was an alias they created for Gerald, whilst the bulk of their output came out on their own label Shoebox.

A limited repress of 350 units on 180g heavyweight vinyl. Mastered by Dapz at Compound Audio and cut onto vinyl by the legend Beau Thomas at Ten Eight Seven, who is very knowledgeable about this sound as he was in the early 90’s groups The Genesis Project/Intense.

Watch Dis Space as this will sell out!

Unusual Traxx first vinyl release is finally here.

The first ever physical EP is brought to light from the label's boss Mark Shadow, debuting on wax with 4 dancefloor-ready tracks. Strong rhythmic elements, analog synths, and uplifting bassline sounds are the key elements in Mark's production and they are all beautifully blended in one-of-a-kind EP. Sit back, relax, and enjoy your flight.

CWPT welcomes Acopia to the label with a reissue of the cult Australian bands self-titled sophomore album, available on vinyl outside of Australia for the first time.

Based in Melbourne/Naarm, Acopia’s music is a careful control of tension and release, sparseness and warmth, momentum, and space. Across ten tracks, the band’s three members move across post-punk lamentation, shoegazing DnB, smoldering trip hop and subdued electronic pop, as they carve out their own hazy world of romanticism and restraint.

The highly anticipated follow-up to the band’s stellar 2022 debut, ‘Chances’, this is a deeply emotionally sensitive record, equal parts refined and relatable, and a listening journey that is immediately understood while revealing new layers with each subsequent listen.

Alongside the physical release of ‘Acopia’, CWPT will also release two digital-only remixes of the band, courtesy of Daniel Avery and JD Twitch.

The enigmatic Ukrainian label Jerelo presents a 4-track vinyl-only EP by the talented Greek producer Cirkel Square. Each track on the release is like an antique sculpture — exquisite, graceful, and made with attention to every small detail. This comparison is not accidental, as Cirkel Square dedicated each of the four “sinister harmonies” to one of the gods of ancient Greek mythology. The opening track, “Kronos Reckoning”, with its new-age melodies bristling with pathos, carries the spirit of the greatness of the age of Titans, frozen between the dense bricks of a micro-house beat. “Hades Symphony” and "Persephone's Whisper" are inspired by existential reflections, while “Ares Beat” surprises with an inventive pseudo-acid drop.

The Malevolent Harmonies EP features tracks perfect for the dance floor, especially when played on a high-quality PA system. Despite each track's unique style, the EP as a whole is surprisingly cohesive. Just as the mentioned gods in the EP are related to each other, the
tracks share common elements, showcasing the high skill level of the rodub / rominimal producer from Stockholm.

Outcast Planet Compilation vol.1 is the first in a series of volumes by Outcast Torino and features two records and 9 tracks, one for each resident DJ: Alex Dima, Bakked, Cristian Sarde, Denaila, Emanuele Montalto, Lorenzo Aribone, Munir Nadir, Paolo Macri and Paul Lution.

The collective from Turin comes together for the first time in a V.A whose sounds range from house to techno, with deep and electro influences.

Coming soon from Outcast Planet straight to your turntables, get your copy now.

After a string of ambient and experimental releases across labels such as Bedroom Suck, Best Effort, Ken Oath and Analogue Attic, Matthew Hayes - veteran bassist of Z*F*E*X, welcomes his latest project Xpress Point, designed to keep your hips moving rather than kicked back on your couch. Born out of jam sessions and collaborations with artists such as Dreamcastmoe, Jitwam, Ziggy Zeitgeist, Finn Rees and Allysha Joy and an obsession with reclaiming the nostalgic sound sounds of the Korg M1 and Yamaha DX7, Xpress Point, which takes Its name from a local surf break off the coast of Phillip Island, draws heavily from the boogie tradition with a nod to vapourware, downtempo, balearic and funk breaks.

Assembled in 2023 across Melbourne/Naarm, London and Berlin, from surf breaks to crusty drum breaks, Xpress Point is a vehicle for Hayes to search for the perfect bass line, explore funk minimalism, continue nurturing longtime musical relationships with close friends and offer his own take on music to make you move.

For its landmark 20th anniversary, Apnea Records proudly presents XX, a double 12" compilation that chronicles the label's journey from its inception to its current cutting-edge form. Featuring both original innovators and fresh talents from its recent relaunch, this release is a sonic time capsule and a forward-looking statement. Spanning from deep techno to Detroit-infused house, Jamal Moss's abstract house, electro, and E.R.P.'s signature machine funk, XX dives into the label's broad sonic spectrum. With contributions from Alex Under, Damian Schwartz, Jamal Moss, E.R.P., Dopplereffekt, Thomas Brinkmann, and Kyle Hall & Kero, this collection serves as both a reflection of Apnea's past and a bold vision for the future.

ROD MODELL : MUSIC FOR BUS STATIONS

MUSIC FOR BUS STATIONS is an astonishing work that pours into the soul of those allowing themselves to be transported in a dimension where sound turns into background noise. Sound becomes part of us, of our movements, our thoughts, our looks and our silences. There is no reason for resistance. Let's be silent. The noise around us is quite good.

"Generative sonic backdrop for bus stations. Designed to enhance space and portray a mod of progressiveness, grandeur, and ethereal calm. A slowly shifting static backdrop designed to enhance modern architecture, rather than compete with it. Sounding as if the structure itself was resonanting. Hovering sound-fields that utilizes sonic phenomena proven to induce states of calm. Can be presented as a multichannel, polyrhythmic installation with different components of the composition emanating form different areas within the structure, and elements constantly shifting in relationship to other elements, creating an organic sonic-tapestry that never repeats the same way. In essence, the soundscape becoming a living organism with unpredictable behavior. Inspired by avant-garde bus station designs such as Domitianus Arquitectura's station in Rio Maior, Portugal; Bluck & Morgen's Busbahnhof Poppenbuttel in Hamburg, Germany; and Metaraum Architect's bus station in Pzorzheim, Germany."
Rod Modell, January 2024

ROD MODELL (Deepchord): MUSIC FOR BUS STATIONS BS (Part 2/2)

MUSIC FOR BUS STATIONS is an astonishing work that pours into the soul of those allowing themselves to be transported in a dimension where sound turns into background noise. Sound becomes part of us, of our movements, our thoughts, our looks and our silences. There is no reason for resistance. Let's be silent. The noise around us is quite good.

"Generative sonic backdrop for bus stations. Designed to enhance space and portray a mod of progressiveness, grandeur, and ethereal calm. A slowly shifting static backdrop designed to enhance modern architecture, rather than compete with it. Sounding as if the structure itself was resonanting. Hovering sound-fields that utilizes sonic phenomena proven to induce states of calm. Can be presented as a multichannel, polyrhythmic installation with different components of the composition emanating form different areas within the structure, and elements constantly shifting in relationship to other elements, creating an organic sonic-tapestry that never repeats the same way. In essence, the soundscape becoming a living organism with unpredictable behavior. Inspired by avant-garde bus station designs such as Domitianus Arquitectura's station in Rio Maior, Portugal; Bluck & Morgen's Busbahnhof Poppenbuttel in Hamburg, Germany; and Metaraum Architect's bus station in Pzorzheim, Germany."
Rod Modell, January 2024

We’re teaming up with ELUCID and Fat Possum for a limited edition of 300 copies of a Rush Hour black ice coloured edition.

E L U C I D, one half of the illustrious duo Armand Hammer, is here with the full-length follow-up to 'I Told Bessie'. Further experiments in the sonic, expanding on the 'live' side of music paired with the embracing of chaos. Something you haven't heard, or not so for a very long time. E L U C I D is here to reveal the bleakness of reality.



---------------------------------------------------------------------------------

''There is never time in the future in which we will work out our salvation. The challenge is in the moment; the time is always now.''
James Baldwin

A raw, crackling urgency runs through rapper-producer ELUCID’s new album REVELATOR like an underground power line. There is no space here for sepia-toned reminiscences or indulgent self-mythologizing. Intellectual rabbit holes have been filled in with concrete and rebar ; there is nowhere to hide and no off ramp from the audio Autobahn that ELUCID has fashioned—a renegade Robert Moses with gold fronts, bulldozing the homes of the powerful and the complicit. REVELATOR brims with the energy of now, with a refusal to look away. Carpe diem in a murder one mask.

Born in Jamaica, Queens, ELUCID has been on the cutting edge of New York’s underground scene since the mid-2000s. From the beginning, he has defied both convention and expectation. He ran with Okayplayer darlings Tanya Morgan, but his own music eschewed their throwback charm for glitchy noise experiments and bass-swamped culture jamming. His 2016 debut studio project Save Yourself (re-released in a deluxe edition last year) announced him in earnest. But in recent years, his Armand Hammer releases with partner-in-crime billy woods have received significant attention and acclaim. Serving as a followup to his last solo album—2022’s comparatively balmy I Told Bessie—ELUCID hoped to “re-distinguish” himself with REVELATOR, setting himself apart amidst the increasing attention around the music he and his friends are making together.

For ELUCID, this meant setting bold new challenges for himself. One of these was diving further into live instrumentation than ever before—”getting my Quincy Jones on,” as he puts it. The testing ground for this approach was Armand Hammer’s most recent project, 2023’s We Buy Diabetic Test Strips’ Möbius strip soundscapes, warmed with instrumental flourishes and skin-shedding beat progressions. With REVELATOR, though, ELUCID strove to create an atmosphere of chaos, embracing experimental electronics and atonal sample bursts. He worked on much of the album with co-producer Jon Nellen, who comes from a background in avant-garde and Indian classical music. “I wanted to get as freaky as I could at this moment. I wanted people to hear things, maybe for the first time, or in a way they haven’t for a long while,” the rapper explains.

ELUCID arrived at the studio with a collection of noise sources: non-referential samples, glitches and noises. Together he, Nellen, and others created forms out of them and, as ELUCID recalls, “just started playing drums with it.” Their fried, distorted sound was directly inspired by Miles Davis at his most uncompromising—specifically, the tone-clustering funk track “Rated X” from his 1974 double LP Get Up With It. At times, the pairing of rap with avant-fusion sounds also brings Emergency! from The Tony Williams Lifetime to mind, perhaps in an alternate timeline where the late drummer was listening to Ice Cube’s AmeriKKKa’s Most Wanted.

“The World is Dog,” REVELATOR’s lead single, functions as the album’s aesthetic thesis statement. Like the Davis track, the textures are punishing, the tonality is in free-fall, and the driving breakbeat of a groove cuts in and out unceremoniously. Avant-jazz bassist Luke Stewart, who appears throughout the record, holds the whole thing together just long enough for ELUCID to tightwalk over the beat. This tension is exactly where REVELATOR sets itself apart; in a time of drumless loops, and safe soul samples, this is a high-wire act with no safety net. Similarly, the song announces the themes of the album within just a few phrases, evoking the way societies accept and adjust to new levels of debasement and brutality while suffocating under the weight of history: “Can’t clock the kill, all a mystery/Forced past will eating everyone eventually/The world is dog.”

Many of the songs on REVELATOR grapple obliquely with dissolution and disenfranchisement in America and across the world—the grim realities of our domestic sociopolitical climate and our involvement in foreign conflicts. “Much of my artistic and political sensibility comes from the Black arts movement here in New York,” ELUCID explains. “Recognizing the interconnected global struggles against oppression, artists and thinkers created works and actions in solidarity with freedom movements in South Africa and Palestine.” ELUCID cites intellectuals like Amiri Baraka, Kwame Nkrumah, Audre Lorde, Sonia Sanchez, and Nikki Giovanni among his heroes. (One track on the album is specifically inspired by Lorde’s work, “SKP,” citing the scholar’s paper “Uses of the Erotic: The Erotic As Power.”) Songs like REVELATOR’s insistent closer “ZIGZAGZIG,” find ELUCID applying up-to-the-minute messaging, making explicit reference to the conflict in Gaza: “Feed a war machine…from river to sea, in lieu of peace.”

Despite ELUCID’s preference for cacophonous system overload here, the rapper also provides moments of respite. Recorded at The Alchemist’s Los Angeles studio, the laid-back, wheezing “INSTANT TRANSFER” is a collaboration with billy woods, which crystallizes their shared sense of creative determination. “With much momentum behind us and even more on the horizon, I knew a purpose, and that every step was ordered to that purpose,” ELUCID said of the experience. Meanwhile, the jittery “HUSHPUPPIES” is a playful anomaly on the track list, providing a snapshot of ELUCID watching his grandparents in the kitchen while preparing for Friday night fish fry dinners.

“Love still rules over on this side,” ELUCID says. ”I’m raising a family. We are making meaning and finding joy in the midst of all the fucked up-ness of everything around us because the alternative is cowardice and slow death. We remain rooted. We celebrate our people and our wins. Struggle is necessary.”

“IKEBANA” is one of ELUCID’s strongest statements of purpose on the record, blending the record’s heaviest themes with its most hopeful sentiments. supported by a shoutalong refrain and an urgent prog-funk groove. Breaking away from images of dissolution and crumbling societal systems that populate REVELATOR, ELUCID notes that the only way to navigate life’s bleakest landscapes is to cling to love and believe in those around you—to look forward toward something better that may or may not be possible. For the rapper, one of the album’s most trenchant lines comes during a centerpiece of a beat drop: “Being alive/I must look up.”

“The lyric ‘being alive I must look up’ is important especially in the context of this album. Much of the album imagery is harsh and reflects the actual doom some of us experience. But still I/we exist,” ELUCID explains.

Every artist is, in one way or another, the product of their time, bound by life’s leaden gravity to operate within the space of that which is already known. But there are some who are able to shake free of these ties, to shape the culture as it unfolds, to make the present their own.
Revelation, as a concept, points to the scales falling from people’s eyes—something that has been hiding in plain sight becoming clear. “The revelator relates to things that have been talked about, things that have been forecasted,” ELUCID adds. “And now they’re really here, and everyone sees it. And there’s no escaping.” REVELATOR plays out with the unmitigated power of those storms, laying waste to any genre conventions in pursuit of a certain physicality. Here, ELUCID develops a wholly distinctive musical language to explore our fractured modernity.

REVELATOR's packaging was designed by longtime Armand Hammer / Backwoodz art director, Alexander Richter.

Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.

On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.

Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.

It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.

The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”

That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”

Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.

Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.

Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.

Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.

Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“

Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“

After solidifying its presence in the electronic music scene, 'Anva' returns with its fourth release, featuring a collaborative effort from Tagir & Indigo Minds. Meditation Dance EP explores the balance between minimal house and tech house, offering four original tracks that traverse atmospheric soundscapes and punchy rhythms.

'Meditation Dance' opens the EP with a deep, rolling bassline that gradually unfolds into a hypnotic groove. Layered with subtle textures and rhythmic nuances, it invites dancers into a meditative state while keeping the energy moving forward. 'Bandit' shifts the momentum with tighter percussion and playful melodic accents, creating a steady groove that’s both engaging and dynamic.

On the B-side, 'Donut' introduces intricate sound design and spaced-out synth work, maintaining a relaxed yet detailed rhythm that adds depth to any set. Closing out the release, 'Jack' brings a bouncy and upbeat vibe, with sharp beats and a syncopated groove that injects playful energy into the dancefloor.

The Meditation Dance EP offers a versatile selection of tracks, perfect for DJs who seek to mix minimal precision with engaging rhythmic flow.

Building on the foundation of his two EPs for Samurai Music, we proudly present Urmah, the first LP exploring the 170 tempo from acclaimed Techno/Electronic producer Juan Rico aka Reeko, aka Architectural.

Reeko has now become an integral part of the overall Samurai Music sound. His work resonates deeply within the label's ethos, and Urmah exemplifies this synergy, highlighting his ability to enrich and expand Samurai Music's vision and push the boundaries of his own artistic expression.

For Urmah, Reeko delves even further into sound and psyche with a richer, more enveloping exploration into his distinct interpretation of the tempo. Reeko's production prowess shines brightly on Urmah with the warmth and weight of each track leaving an indelible impression.

Urmah focuses on heady fathomless grooves that tease shards of breakbeats like delicious icing, binding themselves to a gentle psychedelia with celestial textures. This is dexterous, meditative journey music from a producer who has an intimate relationship with groove creation.

As one of the most respected Techno producers in the genres long history, Reeko's influence and mastery are undeniable. With Urmah, he further showcases his expertise, expanding his palette to display a refined command of the 170 BPM tempo. The LP is a testament to his ability to innovate and redefine, solidifying his reputation as a pioneering force in electronic music.

Uniquely personal, yet gently relatable…

Istanbul-based drummer and composer Danae Palaka’s first album “Velox” is a retrospective journey into the artist’s own roots.

Born in Athens to a musical family partially hailing from Istanbul, Danae’s relocation to the city of her ancestry in 2021 became a key influence in the creation of Velox.

Produced in a collaborative effort with producer Nikos Dervisis, Velox showcases Danae’s dense and energetic drumming style, influenced by Afrobeat and Anatolian rhythms, contemporary jazz and electronic music.

Developed by Palaka’s necessity to perform solo with a drum-kit and a sampler, the album wraps you with complex rhythms, evolving textures and polyphonies that resemble some vaguely remembered childhood memories, tales told by the elders and Danae’s exploration of her family roots, as well as her own personal experiences with Istanbul’s multi-layered structure intertwining past and present throughout its 8 track course.

In Danae’s own words: “This album is built on feelings and thoughts about places, memories, animas and circumstances and aspires to transmit certain feelings to the listener; a superpower I wish I had since I was little. Each song is a small universe of its own but also part of a whole. Velox is a sphere, a glowing warm star that I hold in my palms, whose energy expands when loved and supported.”

Adam Beyer shares his first collaboration with Brazilian superstar Vintage Culture, ‘Lift Me Up’ feat. Kyozo.The track has been brewing ever since the two artists crossed paths while touring and discussions soon turned to a potential collaboration. Passing ideas back and forward, ‘Lift Me Up’ took shape, before Kyozo’s signature vocals were added, with the British vocalist on their radar after link ups with Prof & Fitch, Aiken and Made by Pete. The final work is a pristine slice of dance music built for the summer festival season and reinforces Beyer’s continuing expansion and maturation of his sound palette, following the runaway success of his remix of Sharam’s PATT (Party All The Time) with Green Velvet and Layton Giordani and recent EP on Drumcode ‘Ghost Kiss’.‘Lift Me Up’ has soldered the relationship between Beyer and Vintage Culture, with the Drumcode boss playing the Brazilian’s So Track Boaevent earlier this year, with an anticipated B2B coming before the end of 2024.

New on Outta Sight, an official reissue of the Gloria Jones classic “Tainted Love”. The song originates from 1964, then made a household favourite from 1981 when made a hit by Soft Cell. Gloria’s 1965 release in the USA was originally a B-side to a non-hit, and it took ten years for it to be discovered in the UK where it was played on the Northern Soul scene. It’s the Motown-like rhythms and arrangements that made it relevant. Gloria re-recorded it herself in 1976, and while still not a hit, the song in NME’s Top 500 greatest of all time and Gloria dubbted ‘The Queen Of Northern Soul’. She was in a relationship with Marc Bolan at the time of his fatal accident. This single is coupled with another northern soul favourite, the Holland/Dozier/Holland song “There’s A Ghost In My House” by Motown artist R. Dean Taylor. It was originally recorded in 1966 and reached No.3 in the UK Charts (1974)