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Alisú is the electronic project of Chilean producer and graphic designer Jessica Campos de la Paz. Alisú started her career in 1998 by performing live sets of dub, techno, IDM and experimental sounds, not only as Alisú but also in the project Manziping with Rodrigo Rivera and Antonio Díaz, performing at many South American festivals. On her first release for Bottom Forty, Alisú composes three beautiful, purely hardware based tracks for the Rompiente EP with rhythmic vibes that take you from resonant underwater depths up into reflective cosmic atmospheres.


The opening track “Cyberspace” shows Alisú’s synth prowess with a driving and building yet ambient electric world that eventually dissolves into different sparkling arpeggiations, while “Rompiente’s” fractured vision of a perfect aural reality spreads across a beautiful seven minutes of hyper active arp’s and bass rhythms. “Wake Up” has been a club and festival favorite as it’s dance floor driving kicks create a solid groove mixed with transcendent pads and spaced out sounds are the perfect formula for keeping a dance floor moving while also elevating the listener to a higher level of emotion. Rounding out the Rompiente EP is a percussive rhythmic remix from one of our all time favorites In Flagranti who give us the deep and disco influenced bass lines we know and love.

With their latest 'International Disco Mafia 2' release getting love from the likes of Marc Grusane and Jacques Renault, these Dublin based modern discotheque messers are on a roll.

Their latest sees Yorkshire based machine squelcher Perseus Traxx coming heavy on the A side with 'Pump It', which grinds a crashing jack track in and out of some choice disco snippets to create a relentless floorburner for 2019.

Sir Leon Greg is another of the Traxx-man's many pseudonyms, and 'Shakey' is an acid house tinged makeover of an old Northern Soul classic he made a few years back.
Fatty Fatty head honcho Pablo supplies his 'Warehouse Mix'Â of the track, which strings it out into a wild 10 minute trip that teases and caresses you before the strings and that chorus send you over the edge completely.

Last but not least, 'Last Days' will be, to some ears, the pick of the bunch - a rich, ever circling slice of funked up house music that will touch you in all the right spots, rounding off the package in some style.

Vactrol Park, the collaborative endeavor between Kyle Martin (Land of Light) and Guido Zen (Brain Machine), returns to the ESP Institute with II, rounding out the second half of their EP series. For this installment, a sojourn was made to Stockholm to record at the computer music mecca, EMS (Elektronmusikstudion), where the artists had the opportunity to experiment extensively with the legendary Buchla 200 Modular and Serge Modular, two of the rarest and most pornographic modular synthesizers in existence. While both instruments originate from California (Buchla in Berkeley as a commission from pioneer Morton Subotnik, and Serge at the California Institute of the Arts), the music Vactrol Park draws from these machines is far from warm and sunny. Akin to their predecessors on the 2015 debut I, these works materialize a level of taste and measure of craft that's unattainable by most, each retaining an individual cinematic approach yet working collectively toward one consummate goal—paralysis.

For their sixth release London based record label and clubnight Snap, Crackle & Pop return with another slice of the post punk and kraut influenced electro/techno sounds that are coming to define the label. The latest release comes from Niv Ast and it serves as a follow up to his appearence on this summers Relish compilation. The EP leads with an ice cold slab of post punk swagger in the form of Quebec / Makolet which gets the remix treatment from previous collaborators Khidja, the Romanian duo strip the percussion back for the dancefloor and tease out the track's darker side with more than a hint of acidic malevolence. For the B-Side Disco Monroe offers a nostalgic slice of pitched down French Electro undoubtedly influence by the Djs recent residencies in Paris. Optimo Music's Mr TC rounds off the EP with his unmistakably left field vision to give the track a dark tropical re-imagining.

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

Malik Hendricks is a rhythmically inclined aesthetic enthusiast born in the 80's, and raised in the 90's. A DJ for over a decade, he has always approached music with a rigorous curiosity and views the dancefloor as the ideal arena for collective cultural appreciation, a place where the quest for knowledge meets the quest for experience. Dance is the true language of the body, and a gateway to the recognition of our shared humanity.


Money Cat Records - Round black records bringing good luck. Linking motion with emotion, dance unites the body and soul of all who participate. Music from Brooklyn to the world. Established in 2018.

Denis Sulta's Silver Service imprint - an offshoot of Sulta Selects - present SSSS-3, a two-track collaborative package from the inimitable Hammer and Atlus, Denis' own darker alias.

Taking reign over the A-side, Belfast export Hammer brandishes a weighty dose of low-slung, swollen bass and disorienting vocal stabs on 'Dance Since'. Using a palette of cathartic 90s house vocals he morphs their energy into something far more twisted.

For the B-side, Atlus forges an equally hefty fusion of raw percussion and swirling vocals, spun round by a dizzying acid bass lead.

Wasting no time in heading straight to the dancefloor, SSSS3 sees two esteemed characters doing what they do best.

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.

Sistrum welcomes Son of Sound aka Henry Maldonado for another round of high quality sound exploration. Son of Sound contibutes to the Sistrum legacy with three savory, deep house cuts that continue the sound which makes Sistrum what it is today.

Broke EP is the 6th release on the Deep & Roll imprint, and their
first various release. The vinyl is Electro/Breaks oriented and
features producers from all Europe.
On the A side, the rising Sicilian producer Clafrica - based in
Edinburgh - delivers 2 top notch bangers, that your mums will def
move their heads on. On the B side, the established Parisian
producer KM3 associates with Rob C. Trax and gets out of his
comfort zone, offering a Rave gem that might blow your speakers.
The B2 rounds off the vibe of this EP with acid flavors: the German
producer Colkin composed this track while living in Paris. Def a wax
to have on your shelves!

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This follow-up single surrounding the Continuidad album boasts the dirty little secret Bailemix of album track Recife—we wont go as far as uttering the 'T' word, but this is unbridled merciless tops-off festival gear for the massive. The flipside is another exclusive non-album cut Cuatro Meses De Verano, a rhythmic build-up that breaks into a low-slung funky stomper, Tobar's idea of a warm-up weapon.

This time we've got a full round of straight-forward floor-weapons for you, contrasting two producer's very different approaches and their respective reworks by Len Faki. The A-side is packing heat in form of classic, jacking acid house courtesy of Michael E, whose tracks have that special Ultramajic-sparkle about them but hit with the tight punch and accute precision of a true LF-engineered edit. Similar goes for the ominous reworks of Litüus' experimental synthesis on the flip. Released originally on Shifted's Avian label, these heavily modulated analogue sequences merge seemlessy together with Faki's metallic percussion. As usual with LFRMX releases, the proceeds of this record will be forwarded entirely to charity organization Straßenkinder e.V., who are working to offer help to the children living on the streets of Berlin.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This might all sound like a warning for Hurricane Ricardo, but fear not, listeners will still find some security in the album's rhythmic underpinnings, and although this foray into primitive, ritualistic bang-the-drum percussion is significantly more dangerous than his previous programming, its the imperfection in his passionate studio performances that imbue Continuidad with something remarkably human.

Warehouse Find!

Time flies when you're having fun and we can't fathom how this can be Ben Sun's 5th EP for Delusions Of Grandeur but it's true enough and once again he comes up trumps in the form of the Place Of Worship EP. Having previously graced such esteemed imprints as Royal Oak, Tru Thoughts, Razor n Tape as well as his own vinyl-only label Voyeurhythm the London based Australian producer continues to be both highly regarded, yet somewhat under the radar but we're sure that's about to change with this incredible new three tracker.

Opening up we have See It Come Shining, just the kind of life-affirming club track which seem to be in such short supply these days, but that we need now more than ever. Gospel flavoured piano chords tug on the heart strings whilst a simple, raw disco groove with added 909 punch creates a warmth and energy that transcends the dance floors that it's destined to liberate.

Flipping over we have Oceanways T150, a deep, analogue jam that harks back to simpler times when breakbeats collided with a house thump, uplifting pianos meld into punching basslines and discovering music through muffled old cassette mixtapes or patchy pirate radio reception was all we knew.

Rounding off the EP we have the perfect closer Atlantis Transfer. Here Ben puts more early influences into the mixing pot with ambient washes cascading down over a sublime 90's deep house bassline. Analogue hats and tripped-out sound FX skirt around a naive synth melody making for a heady late night treat to get lost in.

Glacial Industries return for 2019 with a club focused 12' from Cork born, Berlin based composer ELLLL. ELLLL follows up outings on Art For Blind and First Second Label with 'CONFECTIONARY', a trio of technoid mutations. 'PEPSI' + 'SKITTLES' provide club ammo with their pulsing hard drums, whilst the eerie, off-kilter 'JAWBREAKER' rounds off the release. 'CONFECTIONARY' releases worldwide on Glacial Industries digitally and with a limited edition, full colour sleeved white 12'.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

German producer, DJ and label-owner Phonk D, who has risen fast to stardom in 2018, is back once again on NDYD Records with his sequel-release Disco Goodies Pt.2, an outstanding four-tracker that should instantly do the trick to boost his career even further.
From Talking Vintage, an quite energetic floor-filler with a feel-good sound thanks to the percussions that will last in your memory for some time, to Gettin Down, a homage to the French 70s on the southern shores of the Cote dAzur, the charismatic producer keeps the level at the very top of the game. The b-side complements the funky ride with the pumping disco-sensation Can Do It while Disco Africana, with its lovely afro disco-touch rounds up the picture of the 30th release on the emerging German label from the city of Frankfurt.

MODU:LAR Music is a new label project born from established Liverpool-based collective, which has now been running for five years. Promising to release straight-up party tracks made for the dancefloor, the label will showcase and expose emerging talents from it's home city and beyond.

First up is a debut four-track EP from Scouse duo, Danny Mc and James Hall a.k.a. UZU. 'The A1' fires off with a swinging, housey groove that's brought to life by danceable pads, kicks and hats, interweaving warm melodies across the duration of the opening track - before a sharp change of direction with 'The A2' sees the feeling head down a contrasting electro-tinged beat with percussive highlights coming through strongly once again, likely the product of Danny Mc's influence on this debut vinyl release as an accomplished musician and drummer.

On the reverse, 'The B1's glossy and sophisticated breakbeat core sweeps into warm synths and vocal constructions that put forward a real garage-like note that'll be a strong fit with different environments and play times. Rounding up the record is a punchy, driving roller that features complex electronic, spacey accents polished off finely by Jim Hall - a signature of both artists production style that'll become more and more evident in future work.