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LIMITED EDITION 500 ONLY COLOURED VINYL LP WITH DOWNLOAD CODE IN GLOSS FINISHED 350GSM BOARD SLEEVE

Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.
 
What we said back then ...
 
‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.
 
The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.
 
They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!

Funky soul-jazz organist Caesar Frazier crafted superior Hammond funk. 75, his second LP, is a rare gem. It’s comfortably his greatest artistic statement.

The follow-up to Hail Ceasar!, it’s a taut, grooving set that expands his sound and, put simply, it’s got better songs. The key elements of his debut album are all there – production from maestro Bob Porter, accompaniment from hip players (Bernard “Pretty” Purdie, Cornell Dupree, John Tropea) and arrangement from Horace Ott - but the overall sound is elevated. The tightly jamming, expressive jazz-funk makes for a richer, fuller, more satisfying experience.

75 is a mixture of hard-driving originals, deeply beautiful slower numbers to vary the tempo and a couple of classy covers. The crazy bombastic “Mighty Mouse” - a riot of horns, organ and in the pocket drums - became an acid jazz classic at Dingwalls and it’s easy to see (hear?) how. A blissed out, lushly instrumental take on Seals and Crofts’s “Summer Breeze” follows, perfect for those sunshine sets.

Side A closes with the heavenly “Sweet Children”. A loping, funky jazz masterpiece famously sampled by Kanye West for Common’s “Real People” from Be. It opens beautifully, with soaring sax and a funky horn section combining with weightless keyboard tones atop snapping drums. Unsurprisingly, the excellence endures right through to the end.

The B side opens with perhaps the album’s most famous track. "Funk It Down” contains the familiar “I can feel the funk” vocal refrain throughout. But it’s the gorgeous, insouciant bridge that you should all know and love, having been used as the hook for Gang Starr’s “Ex-Girl To Next Girl”. A great cover of Stevie Wonder's “Living for the City” comes next, with an unforgettable bass-line which anchors the entire heavy rhythm section workout. Dizzying organ, triumphant horns and sun-dappled guitar grooves combine to create “Walking On The Side”, rounding out a pretty smoking set.

This is one of those rare 70s funk-soul-jazz LPs on which a bad track cannot be found. It’s all essential. So of course finding original copies on vinyl at affordable prices has been tough for years.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with painstakingly reproduced artwork by the Be With team, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Strap yourselves in troops! This next one by our Bavarian brothers has proven to be a bit of a HIT round these parts over the past year..
Recently they’ve been prompting many ID requests with the support of Dixon, Ame, Roman Flugel & Kornel Kovacs and now the secret is out!

one less than the infamous ILL_K is making his much anticipated return to Subaltern with a full EP on the imprint, accompanied by fellow producers Chad Dubz and Koobas.
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*A. ILL_K - **WARP 6*
Bringing back the original jungle influence into the realm of dubstep, the title track ‘Warp 6’ sets the pace of the EP right away. In his trademark crisp and weighty production style, ILL_K lays out a true roller, carried by fierce sub lines and cutting edge percussive work. The melody gets repeated and reworked into many different sounds - sticking in your head until you crave for the next time round.
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B1. ILL_K & CHAD DUBZ - NINJA TECHNIQUE
Joining forces with the ever busy Bristolian and Foundation Audio boss Chad Dubz, the second track of the release is a real bass-face inducing beast. Keeping up the dark and gritty feel, ‘Ninja Technique’ unleashes merciless waves of bass and ever-so-punchy drums that will shake raves and ravers around the globe.
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B2. ILL_K & KOOBAS - WALKING HOME
On the third track of the release - and the second collaborative effort - ILL_K and Koobas serve yet another masterpiece that transports authentic Metalheadz jungle vibes into the 140 sphere. Ground-shaking and groundbreaking.
Legend has it that the Fiesta parked in the market has still not moved to this day.

7"

As we continue our project with the Foundation voce of UK Reggae - Sandra Cross - the next instalment is the electrifying 7"| Sound System weapon called 'Jah Love". This monster riddim has been shaking up speakers across the dub world all summer.

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.
Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

50 years ago, a young Panamanian singer by the name of Ralph Weeks, who a few years prior had cut his teeth in the US music landscape with the group Johnny & The Expressions, self-produced and independently released a record with an absolute monster of a soul ballad called "Something Deep Inside." It was a song that Weeks had come up with on the spot during one of many gigs in the heart of Brooklyn's Prospect Heights, at the time a cultural hub and community for many Panamanians living in the borough. Along with his group, The Telecasters, Weeks often played at a Panamanian-owned club in the neighborhood called 4 Star's (STA4R's) which would independently sponsor the release of the tune on a 7-inch single.

Fast forward to 2019, where a serendipitous meeting between Ralph Weeks and Names You Can Trust turned into a solid formation of musical synchronicity, bonded over a shared belief in musical fusion, a weaving of musical threads that was similarly the foundation of that earlier era in Panama. It's a fusion that has become a constant theme throughout the Names You Can Trust catalog in the last 10 years, connecting the dots from NY, the Caribbean and Latin America. An immediate plan was put into motion: return Weeks to a studio atmosphere that had eluded him in the preceding decades, a vibe and live musical presence that would be reminiscent of his time recording with The Telecasters and The Exciters in Panama.

In the ultimate tribute to Weeks and that foundation, NYCT label mates Combo Lulo unpacked the 50-year old original tune and refashioned it into a timeless rocksteady ballad. It was an opportunity for Weeks to acquaint himself with a new band and a new generation of musical talent. Ultimately, it was an unexpected chance for Weeks to reconnect to the music he wrote one fateful evening in a Brooklyn club. For Combo Lulo, Names You Can Trust, and now the rest of his musical admirers, it's a chance to hear how gracefully Weeks' voice has aged, still silky smooth with those beloved falsetto runs, sweet and rounded like a barrel-aged añejo rum. It's a testament to the timelessness of Weeks' original music, and certainly another reminder of how far and wide even the smallest of musical blips can spread.

Presented as a double-sided bilingual 45 single, both versions of Weeks' classic tune, "Algo Muy Profundo" and "Something Deep Inside," have been formatted in the traditional Jamaican style, skillfully cut live and mixed under the guidance of NYCT and Combo Lulo's talented musicians. It's a tribute to a brilliant record and an unsung architect of Latin American sweet soul, but also a love letter to a very particular NY-Caribbean fusion that theoretically could have happened 50 years ago, depending on the borough you resided in. After all, there was always something deep inside. Comes with NYCT / STA4R'S Company Sleeve & Liner Notes.

With its fourth catalogue number, Steinlach returns to the vinyl format with a remix EP. On board are international friends of the label, who layed hands on Wice's originals with outstanding re- interpretations. While the A-side contains two groovy and club-oriented remixes of "Just kiddin", the trippy flipside focuses on the second outcome of the label and refers to the two pieces "Absent" and "Hertz".

The record opens with a fast-paced and jacking "Just Kiddin" version by Deep'a and Biri. The two guys from Tel Aviv re-interprate the clubby aspect of the piece, furnish it with a portion of percussions and accompany it with a volatile beat. Discharging the track with a big bang, they're leaving the listener with no chance but to move energetically to the groove patterns while cherishing the original lead melody.

Just like Deep'a and Biri, Jon Hester bets on the energy and the recognition value of the original synth line. As typical for Jon, he gives a more Chicago-style housey and bouncy touch to the composition. The lead is getting chopped, re-interpreted and re-arranged into a new groove and melody pattern, sure to inspire the floor to shake and to catapult everyone around into a frisky dancing mood. Suddenly, the well-known arpeggio of the original comes in and makes for the climax of this brilliant remix.

With side B, the club aspect of the record might not be left behind, but moved into more stripped and trippy terrains. The B1 track is fashioned as a ruthless "Absent" version, unmistakably having Refracted's writing all over it. The smallest variations of the synth line, drones, and pads, without resorting to typical drum rack aspects, find their way deep inside the listener's head, and draw them into their subtle rhythm. The unapologetic roughness of the interpretation is striking and makes it a brilliant peaktime weapon.

Rounding up the whole EP, the last remix of the record is a wonderful re-interpretation by the talented Australian that is Mosam Howieson. He ministered to Wice's personal favourite piece and crafted a loving and deep version of "Hertz", which translates the magic of the original into own words and emotions, adds a subtle groove to it, then invites to listen more carefully. One quickly dives into a hopeful world in which a certain magic seems to be present, and where everything seems to be alright. Be it as a perfect last piece after a long fulfilling evening, or as the outstanding means to make the sun rise in the morning-Mosam's interpretation sure hits the spot.

Special thanks go out to our close friends Simon Sandleitner who is always in charge of the great artworks and Roger Reuter (Roger23) for having always an open ear, his helpful advises and his thought-out criticism.

Having built up his self titled label alongside his sterling work as part of Oscillat, Lazare Hoche and Will & Ink, the one and only Malin Genie delivers his debut solo album. Moving beyond the pure club focus of his singles and EPs, the Genie has seized this opportunity to present a widescreen panorama of his sound, leading in with the subliminal ambience of "You" as a springboard to explore breaks, electro, techno, and especially IDM. There are so many ideas swirling round Anthropomorphic Sympathy, it's hard to know where to begin describing it. A true headphone commute for the deep listener to burrow into.

For COS_MOS's next trick they serve up a special 12” that features a brand new single from M>O>S super group R-A-G, also known as MaSpaventi, Aroy Dee and G-String. It comes backed with a re-release of one of the key tracks of the previously released Crystal Maze album on aDepth Audio. A fierce and full 45rpm re-cut of 'Dr Claw' that has been a secret weapon of Aroy Dee for many years. It's a raw cosmic adventure, with warm solar winds blowing over prickly drums. Twisted bass and knotted pads wrap round the groove as a detuned lead synth heads into a Legowelt-ish future. 'Larry Venom', stirs things up with a deconstructed, off kilter mix of beeps and drones with marching drums adding to the feeling that this is a robot party in meltdown. This is a brilliantly left of centre EP of intergalactic house.

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

South east London songwriter and visual artist Jerkcurb has today announced his hotly-anticipated debut album Air Con Eden - set for release on Friday 13 September via Handsome Dad Records. The culmination of several years of intense creative focus, Air Con Eden reflects on Jerkcurb instigator Jacob Read’s recent real life events, losses and tragedies as well as more cryptic, fictitious perspectives and surreal adopted personalities. The record’s euphoric lead single ‘Timelapse Tulip’ arrives alongside today’s news - accompanied by a stunning, intricate 3D animated video courtesy of a collaboration between Read, director Gilbert Bannerman and production designer Theo Boswell. Read will tour the U.K. in October to celebrate the album's release with a hometown headline at Chat's Palace included on the run.

Having fully emerged in 2016 with the flourishing ‘Night On Earth’ - a streaming hit with 2,700,000 spins to date - and subsequent tracks ‘Voodoo Saloon’ and ‘Little Boring Thing’, there’s been a growing sense of an artist climbing into maturity with each succeeding release, video and gig laying the foundations for Jerkcurb’s burgeoning cult status. Radio and press took to Jerkcurb instantly with BBC Radio 6 Music inviting him in for a live session on Tom Ravenscroft’s show, also making an appearance as a guest on Steve Lamacq’s Thursday Round Table, while esteemed publications like Dazed, Vice, Noisey and Wonderland have all thrown their weight behind his music and art. Indeed, Read has been heavily immersed in his art and animation all the while, exhibiting at the Tate Britain and also being commissioned by them to create a promo for their installation Aftermath: Art in the Wake of World War One and drawing praise from It’s Nice That along the way.


There’s a near impossible richness to Read’s songwriting form on Air Con Eden, with its as-yet-unheard title track offering perhaps the clearest distillation of the record’s predominant theme: time at its malleable and fraught. Inspired by Victor Gruen - the pioneering designer of shopping malls in the United States - Read unpacks the idea of being trapped in an eternity that feels like an endless present tense, the passing of the seasons reduced to a standstill in a pristine shopping mall; a symbol of both stasis and comfort; an Eden without the possibility of an ending.

Lance Ferguson's Rare Groove Spectrum collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities found fans everywhere when released earlier in 2019. The extended reworking of Earth Wind & Fires' 'Brazilian Rhyme' was selected for Jazz FM's A playlist and stayed there for months.

Lance has always enjoyed imaginatively taking a classic rare groove and re-recording in it a different genre, and it has to be said that his latin-ised version of the great jazz organist Jimmy Smith's '8 Counts for Rita' is a concept no one saw coming. Kept back from the Rare Groove Spectrum album, we proudly present it here in all it's swinging, samba-fied glory!

Spanish DJ & remixer Flow Lab Kid (Sergio Cáliz López) is also along term Ferguson fan , and he delved back over 12 years to Lance's very first 'Black Feeling' album and did own 'Blessed' remix of The Blessing Song (which was originally and amusingly credited to the fictitous group The Shirley Eubanks Ensemble) but was in fact a version of jazz violinist Michael White's spiritual jazz track from his 1972 album Pneuma on Impulse Records.

Finally, there is a straight down the line funk version of the Blackbyrds Theme that also didn't make it onto the Rare Groove Spectrum album, although it was always planned that it would see the light of day and what a great way to round off Lance Ferguson's Rare Groove Spectrum - remixes and rarities.

Direct and simple: Christian S embarks to Permanent Vacation and brings five house-not-house tunes.
The bitter gloomy title track “Tannin” vibrates with a dry bassline over which an acid-flavored synth-line
arguments with higher hi-hat spirits. Matias Aguayo added his very special ability for creating haunting
chords and drums to the tune “Dancer” and transformed it together with Christian S into a nervous
house sensation. In contrast, Cologne DJ and producer Korkut Elbay also did some twists on
“Dancer”. His edit concentrates more detailed on the witchy chord construction. With Columbian
producer Sano Christian S puts his love for percussive spheres on the table and created a tune that is
made for magic floor moments, when all dancers melt into to one entity. Finally, the enchanted solo
track “Passant” wafts gently while a nervous melody haunts the listener. It rounds up a free spirited,
percussive, edgy yet catchy EP that is made for all circumstances of the night.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

West Coast mainstay Dave Aju continues with his own varied style and pace, coming correct once again on Circus Company
with a truly special three-tracker of straight up dance floor bombs. This San Francisco DJ/producer is a master sampler, groove
innovator and jazz influenced artist who has been with this label for ten years. In that time, he has turned out plenty of timeless
LPs and EPs that have earned him a deserving reputation as a truly cultured craftsman.
Just in time for the warm summer months ahead, these pieces are fit for maximum daytime, nighttime, and after-hours pleasure
respectively. The releas kicks off with title track ‘Love In Zero Gravity’, one of those raw undefinable Dave Aju grooves, loaded
with soul and unique musicality. It builds in bass-heavy intensity, bright epic bursts and ecstatic waves like we've never heard
from him before. Next up the voodoo stylings continue on ‘Aubergine Dream’ but in a much deeper mode, where ultra-sweaty
basement funk collides with the darkest shades of purple imaginable, all laced-up with otherworldly lysergic lines. Finally,
‘Gatadu’ rounds things out with pure class, a bouncing robust house cut done-up with generous helpings of live percussion, rich
textures, and Aju's velvety vox - the perfect recipe to keep dancing long into Sunday's sun rays, all smiles and sing-a-long vibes
for the real heads and lovers. This is another superb offering from one of dance music’s most fascinating artists.

Rotterdam's Nr1 Jungle & Breakcore badman FFF back on PRSPCT's RVLT imprint.

4 tracks that deliver all things great this legendary producer has to offer. A little more subtle this time round but still oh so powerful.

24/7 Soundkiller is one of those records every true junglist needs in their life!