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Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

The initial release from Washington DC based Enman Recordings is a hypnotic deep groover centered around an evolving synth lead that builds to create beautiful tension. The remix is helmed by none other than Parisian House legend, Franck Roger. His remix has his signature bounce, guaranteed to lift any dance floor! The Bside No Accident is a tough dance floor banger with carefully selected jazz horns and spoken words from one of the icons of jazz.
The EP closes out with Fall In, a stripped down house groover with heavily saturated drums. It adds beautiful piano samples and vocals to lift the track. Great for getting those dance floors warmed up.

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track.

Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush).

The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flügel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix.

For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise.

On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

Fledgling label Shadow Pressings already made a mark with their debut release in March entitled the Chicago EP, garnering love from Hunee, Terry Farley and Luke Solomon to name a few.

Striking while the iron is hot, the label are serving up four more heavyweight club tracks which include acidic edits, crunchy deep house, 808 electro grooves and dusty breakbeats.

Lead track Find A Friend jacks up the perennial classic with 808 rims and toms and additional synths but keeps things loopy and rolling.

Holding One Shoe continues with the 808 theme whilst injecting a healthy dose of acid resulting in what sounds like a long lost Yazoo B side filtered through a lysergic lens.

Train Of Fools decontextualises a well known acapella making for a deep and techy basement jam which will keep the floor moving and the speaker pumping.

Closing out the EP we have More Music In The Night, which chops up some familiar samples and layers up an 808 electro groove and breakbeats for a fresh take on early 90’s house.

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


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support:
Denis Sulta, Austin Ato, Laurent Garnier, Tom / Groove Armada, Idris Elba, Jamie Jones, Oliver Heldens, ACRAZE, Mark Knight, Sam Divine, Riva Star, David Penn, Severino, John Summit & many more.

Massive Sampler from KooKoo featuring some heavyweight names inc Mark Knight & Armand Van Helden, Full Intention alongside up and coming names Ewan McVicar & Fabrikate who combine to deliver club smashing versions of Sharon Redd's "You Got My Love", Cloud One - “Disco Juice”, legend D Train’s Keep On, and Gayle Adams “Plain Outta Luck”. Buy or cry.

On his new album always centered at night, moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

“Because of that randomized freedom, I’ve been on the receiving end of so much genius work,” says moby. “And the result has been one of the most exciting, surprising things I’ve ever done as a musician, and it’s one of the most worthwhile things a human being can do: make tender, gentle, vulnerable music that’s a clarion call to act.”

Featured on this album are some of the most exciting vocalists of our time. Some are well-known - such as serpentwithfeet on the breathless daydream of a song ‘on air’, the jazzy soulstress Lady Blackbird on the haunting ‘dark days’, or the astounding poet and activist Benjamin Zephaniah on ‘where is your pride?’. Other contributors have been found in relative obscurity - such as friend and vocalist Brie O’Banion on the Cream cover ‘we’re going wrong’, or Sheffield poet laureate Danaé Wellington on the powerful ‘wild flame’.

“The goal for always centered at night is to do something uncompromising,” says Moby. “To make music that is emotional, atmospheric and potentially beautiful. And what better use of this weird privilege I have than trying to foster creative expression that has uncompromising integrity?”

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

This month we have three beautifully pressed mostly unreleased Ike Noble 45s with o.g style silver Ink overprinted labels, they look just

On side A we have the only previously released (but very rare) track on these three 45s. A brilliant, mid-tempo soul chugger that falls between Syl Johnson and James Brown, undeniable, how this did not blow up at the time is beyond comprehension.

On the flip, it is Deep Soul time again with a version of 'Best of Luck to You', also recorded by Sam baker and Earl Gaines, but easily toping both.

Altars is the debut EP from Detroit's own Deon Jamar.

This album kicks off the catalog of his newly founded record label, Black Music.

Black Music was originally an art exhibit, concert, and party series founded by Deon and Brian Oscar (Wrckles). Inspired by the legacy of those before and the work of peers today, these events were made to honor the lineage while also demonstrating the golden cord that connects all of our music throughout genre and era.

Fusing these worlds together informs the DJ as well as the producer.

A radical objection to industry standards, leaning more into the energy and depth of sound.

Black Music, the label, will carry this same tradition.

The story of Ultrasonic Grand Prix is one of two vintage 60s guitars and their owners. I love my 1967 Vox Grand Prix guitar,” declares multi-instrumentalist/producer Shawn Lee - creator, among other feats, of the soundtrack for Rockstar video game classic Bully, and one half of Ultrasonic Grand Prix. “It is a serious beast and an important part of my arsenal. Every tone you need…’For guitar maestro Barrie Cadogan - of Nottingham Freakbeaters Little Barrie, best known for the main title theme of ‘Better Call Saul’, The The, Liam Gallagher and playing on the soundtrack for Baz Luhrmann’s ‘Elvis’ - it was the Vox Ultrasonic, also from the same period, that caught his eye. “I first became interested in Vox guitars because of people who used them like Spacemen 3 and the James Brown band of the late 60’s”, he explains, “but it was when I was part of a recording session at Anton Newcombe’s studio in Berlin that I had chance to get to know the Vox gear better. I was borrowing an Ultrasonic from a friend for a while and Shawn already had his Grand Prix. I thought it would be a good name for our project whenever we got it going.’ It was with this shared passion for these weapons of vintage, psychedelic gold that the suave, velvety, and off-kilter cool of INSTAFUZZ was born. While a project born of recent times, the flames of INSTAFUZZ were first ignited all the way back in 2010, where the two met during mixing sessions for Little Barrie’s 2011 LP King of the Waves. Snap forward a decade and we find Cadogan ripping guitar licks on Instagram, the workaholic Lee using these as inspiration to lay down rhythm tracks on analogue drum machines. And not long after that, cut to the two trading files back and forth furiously online, birthing music together in ever more completed forms. And the music that did emerge was weird, startling, and insatiably groovy. With one foot dipped in the organ-warbling garage of 60s psych, and the other vibrating in the mind-expanding fractals of the British Acid House boom, INSTAFUZZ plies the earthly quintessence’s of blues, rock, soul and jazz, against the preternatural discomforts of programmed drums and unhinged synthesisers to produce something distinctly and nostalgically futuristic

California house music maestro Jason Merle returns to Whiskey Pickle in 2024 with a revamped mixdown of his slow burning deep chugger 'Fester' paired with the previously unreleased jackin' house groover 'Can U Handle It'.

On the B side coming in from London town we have ALFOS very own Sean Johnston (Hardway Bros) turning in an absolutely wicked rendition of 'Fester'. Hardcore you know the score, acid house for the headstrong. Whiskey Pickle will make you wiggle!

Early support from Erol Alkan, Space Dimension Controller, Makossa, Eddie Richards, Alinka, Marco Carola, Audio Soul Project, Maceo Plex, Alkalino, James Zabiela, DJ Nova, Paco Osuna, Sam Divine, Cole Odin, Harri, Severino, Bruce Tantum, Hakan Dahlby, etc.

To be released on Ransom Note Records and marking the debut album of Wave Arising project , "(The) Rooted Sky" is an invitation to an initiatory journey where intuitions are channeled into grooves and otherworldly sonic landscapes . A sound where intense rhythms meet circular expansions .

From various improvisations, the experienced & avant-garde musician Sebastian Vaughan decided to take a fresh look and avoid the use of sampling third parties by crafting compositions. An approach to music as a spiritual path driven all the way long by psychedelic dubby vibes , acidic frequencies & hypnotic repetitions coming from his sound-system culture heritage .

While the tracks "It Comes and Goes" , "Ronde Cinétique" , "Electric Shrine" and "Golden Black" draw contemporary almost cinematic ambiences with vibrant and spacious feelings , "Monin Yiri" , "Sound Loves Dance" & "Grow with the Flow" represent a series of energetic deconstructed leftfields , with the omnipresence of a singular tribalism that emphases the african side of Wave Arising .

On its own "Music without chains" is , as the title underlines , a joyful jam free from any boxes or attempts at confinement .

Finally "Subconscience" arrives like a probe , a dreamlike piece full of endless reverbs from Kynsie's voice ; generating mysterious environments and resonating directly with "Soul Whispers" .

Taking on the challenge of fusion , "(The) Rooted Sky" asks the listener to open up through a collection of progressive tracks reflecting the core of Wave Arising’s spirit : Music & Body as a portal . Through this consciously chosen wide range of dynamics , the producer shows his musical ability to create an unique sonic palette yet staying true to his own personality .

Regarding the cover, the outside is a minimalist yet symbolic photograph of the duo’s hands. As for the interior, Wave Arising is very grateful to welcome primitive artworks by the talented artist Rapoon , one of the founder members of the legendary group Zoviet*France . Continuing with this global vision of intertwined arts, the videos accompanying this record are created by Wave Arising .

Ultimately , the recurrent animistic vibes of "(The) Rooted Sky" give to the album a spiritual ethos directly driven by the book of Nature reminding us that, we are all connected to the Source .

Whatever the "Source" means for each one . . .

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. The mighty 'Roller Rink Funk' by Shift is the next reissue from the archives and never has a jam been more aptly named!

Another class act from the plethora of uptown groups that were associated with Queen Constance and her orbiting planets, Shift was possibly yet another 'studio' group put together for this one time release. The co-production nous and involvement of long-time associate Bernard Thomas lends these cuts some serious B-boy credentials. Thomas was involved in a lot of the P&P era early Rap material, as well as working with BDP and lending his skills to releases on the cult Rap label Zakia too. Needless to say, this particular release is that magic funky frisson between Disco, Funk and the earliest stirrings of Hip-Hop, an especially rich vein of music. As the title suggests this one is meant to be heard at the roller rink, the syncopated rhythms mimicking the skaters movements and repetitions. As with any good roller-skating Funk record (there are many!) it doesn't take long for you to want to hit the dance-floor, whether it's to skate or to simply get down. An often tricky record to find in it's OG state, commanding 'collectors' prices, 'Roller Rink Funk' is back on the block for all the Disco freaks for 2018. Perfect.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Thomas Xu from Steady Flight Circle and Tommy Kladis from Music Time with Friends come together on this new cassette-only release that captures three of their sessions at Kladis's studio. Xu was on synthesizers while Kladis was in charge of samples, drums and loops on the SP-555 and the final touch was lo-fi drums from John Shaughnessy. It takes the form of two extended jams that reach out to almost 15 minutes of dusty, ambient-laced soundscapes with distant percussive details and melancholic moods. 'Klaxu' has more darkness and more prominent rhythms to it but both pieces make for escapist listening.

After the success of the 1st vinyl edition of Techno Club 25 years anniversary, Talla 2XLC and his ZYX team proudly present the 2nd vinyl edition including 12 trance classics in their full extended DJ friendly glory. Imagine on the same colored vinyl (gold and black) outstanding productions and remixes by Talla 2XLC, Terry Bones, DJ Kalpa, Paul van Dyk feat Plumb, John O’Callaghan, Chakra, Alex M.O.R.P.H., Lange & Sarah Howells, Aly & Fila, CRW, DJ Jamx & De Leon aka Dumonde, Markus Schulz and Tony-H. Finally has arrived the ultimate vinyl set of 12 eternal trance classics selected with love by Talla 2XLC and his Techno Club team. Add in your basket and purchase now this very limited edition colored vinyl set!

The tom-tom heavy tribal rhythm of “Wela Wela” is one of the rawest, hardest cuts from the band Black Blood, a conglomeration of musicians from the central part of the African continent who were based in Belgium. The group had a breakout single in 1974 with the exotica-leaning “A.I.E. (A Mwana)” but never were able to quite capture the excitement that single generated with their follow up records. We can only guess that songs like “Wela Wela” were simply way too heavy for the pop tastes of the day, since the groove is a beast! — an acid rock tangent of the “Soul Makossa” riff that radiates pure energy. Mr. K aserts “It’s an incredible song to dance to, but was not very DJ friendly, and I never seem to hear other DJs play it... or even talk about it.” Originally debuted on his Grass Roots album, Mr. K's new rearrangement should change that, especially now that it's been made available on this hard hitting, portable 7-inch format.

Originally released the same year as Black Blood’s debut, “Komi Ke Kenam (Fish & Funjee)” was discovered and distributed by a small independent Brooklyn label that featured many other incredible African bands of the 70's. The song opens with a tough breakbeat (subtly extended by Mr. K on our release), and rumbles over a funky bassline and slicing wah-wah guitar before bursting out with a sax-led climax, a gritty get-down jam if there ever was one.

Both cuts have been remastered expressly for DJ play and are loud and clubworthy, in new extended edits that tease every last bit of funk from the originals.

Early DJ Support: Marco Carola, Jamie Jones, Chris Stussy, Seth Troxler, Brawther, Raresh, Joseph Capriati, Laurent Garnier, Samuel Deep, Saoirse, Janeret, Richy Ahmed


UK talent ADMNTi makes his FUSE debut and opens the label’s 2024 schedule with ‘Vibrations’, featuring a remix from Vigenere boss Malin Genie. Whether serving up his take on minimal-leaning house across a wealth of the capital’s key venues, or front-left on the dancefloor himself, London’s ADMNTi has been shaping a sound and curating his ear for years to become one of the city’s most well respected emerging tastemakers. A regular at FUSE over the years, with his sound palette harnessing his roots within the city, his releases on Dansu Discs, Beeyou Records and Caposile Music have seen him rack up love from the likes of Petre Inspirescu, Raresh and Voigtmann alongside mentor Enzo Siragusa. And it’s Siragusa who now welcomes him to his iconic FUSE imprint for the very first time as he makes his longawaited label debut to open the 2024 schedule with four originals across his ‘Vibrations’ EP - with Mandar favourite Malin Genie also joining the package on remix duties. Skippy and armed with a menacing bassline at its core, ‘Vibrations’ brings the heat from the off as slinking percussion warps around hazy pads for a lively opener, while ‘Infinite Function’ brings a paired-back and tumbling groove full of squelchy interludes, bright electronics, resonant organ melodies and subtle chords. On the flip, B1 ‘Original Sin’ is a spacey and cosmic trip into acid-tinged soundscapes, before Malin Genie’s remix of the title cut brings a funk-fuelled and deep dive into the early morning hours as he crafts a slinking groove that captures the imagination instantly.

CHIWAX presents another outstanding release by Boo Willaims!

"Tribute To Chicago" is Boo's hommage to the Capital City of House Music, their artists and his hometown.

Highy recommneded!

LA based producer Eric Spire released some very forward thinking music on his Silver Pearl label back in the late 90’s. This type of heavy, psychedelic house music was the bridge to a new era of sound and grabbed a lot of attention from the likes of Craig Richards & Lee Burridge’s Tyrant nights at Fabric and DJ Garth to name a few.

Now, 2 decades later, Sushitech and label head Yossi Amoyal compiled a unique series that includes some of the most inspiring and hard to find tracks out of the Silver Pearl back catalogue.

This is an exclusive insight to one of the most inspiring underground labels coming from the west coast. Essential!

Orphic Apparition follow up their inaugural release by RAFRAM, the collaborative project of Toronto's Raf Reza aka Raf Rizzla and UK acid house luminary Ramjac Corporation, with a new two-tracker from the transatlantic bass warriors. Where the RAFRAM 12" gifted us five variations on the same live jam cut from Grow Tottenham, here we have a spontaneous track written by Paul (Ramjac) on the A-side and a fully warped dancehall mix from Raf on the B. (short)

'Press 1 to Repeat' began as an on-the-spot demonstration of the musical self, a natural response to being asked 'What is it that you do?'. Within a few minutes Ramjac had his laptop out and was bashing out a quintessentially English sort of kitchen tabletop version of Kraftwerk - Numbers, the tongue in cheek automated voice on the other end of the line querying his account balance in tow. Proudly showing his friend Ryoko his improvisatory skills, a £10 hifi from a Japanese 2nd hand shop served as the portable monitors whilst the track waited to be brought back to his studio in London. The track is anchored by a bouncy, Irdial-reminiscent percussive workout which punches above its weight for its humble beginnings. Add the dubbed out synth pads and sort of electrical static FX in the background and everything syncs together in cosmic harmony. Hopefully Ryoko now gets the gist!

Raf Rizzla takes the stems and channels some inspiration from the Jamaican movie “Third World Cop” by turning the track on its head with a double-time baseline and half-time melody to craft a big dancehall version with a bit of a modern day On-U twist. Here Raf shows yet another side to his truly versatile production chops which have seen him release house, trance, breaks and downtempo cuts on a variety of Canadian labels prior to starting Orphic Apparition.

Repress!

'You got the stuff' is not 'Lovely day' - that much is true. This one's a wigged out, extended, trip into deep space from 1978 that is truly baffling.
Of course, it features Bill singing for the first half of the track but then all of a sudden we're launched into a cosmic wormhole as everything just falls back and the track is stripped of any earthly qualities. People find themselves asking 'this...... this is Bill Withers' as lazer guided synths and rock solid drums pull us into the sonic vortex. Truly amazing. Obviously a nugget like this has not gone unnoticed and has been edited and chopped and sampled deftly by the more sarcastic, left-field oriented crate diggers out there but it has never been reissued legitimately - Until now!

A hugely sought after and collectible gem right here, backed with the wistful slow jam 'Look To Each Other For Love' as per the original 1978 Columbia promo 12" version. This left-field, cosmic classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original Columbia pink label Disco 12" artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.

It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.

The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.

Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.

We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.

The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)

Enjoy the music and play it loud!

Lars & Maarten

The Amsterdam-based duo of LYMA and Rebiere aka LIKEMINDS follow up their debut album On My Way with versions from its predecessor.

Sometimes life throws you a curveball and you still gotta make it to first base. That’s what happened when Rebiere’s laptop was stolen, along with all the recordings of their original debut album. The pair made a brand new album from scratch, but they kept coming back to the demos from the lost recordings. They started to rework the sound as a whole, adding finishing touches, including additions from Bo Floor and Gino Groeneveld from Jungle By Night. The demos weren’t the same as the stolen tracks, but they learned to love the imperfections all the same.

The Lost Tape takes you on a journey - through low-slung beats, party jams, soulful. melodies and woozy synths, all masterfully woven together with samples and field recordings from Amsterdam’s watery canalways. It’s also the story of how the duo met, at a time when LYMA felt lost at sea with his collection of unreleased tracks, before Rebiere threw him a lifeline and brought some focus and clarity. Sometimes finding a like-minded
friend can make all the difference.

Lorenzo De Blanck breaks new ground and makes his Hot Creations debut with ‘Feel My Desire’. With an impressive year under his belt, earning recognition as one of the ANTS’ ‘Next Gen Top 10’ plus success on labels such as Hottrax, Moon Harbour, Repopulate Mars, Italian DJ/producer Lorenzo De Blanck now makes an electrifying debut on Hot Creations with ‘Feel My Desire’. The release showcases three thumping tracks already garnering support from leading figures, including label boss Jamie Jones and Joseph Capriati, embodying the label’s reputation for propelling pioneering artists to the forefront.

The title track ‘Feel My Desire’ combines speaker-rattling basslines with an unwavering sonic landscape, meticulously crafted to ignite a dance floor frenzy, while ‘Energy’ locks in a slick groove with percussive rhythms and eerie vocal snippets for a hypnotic trip. Closing out the release, Show Me The Way’ lightens the mood combining bouncing drums beneath a slick sample of Dave Lee's 2003 hit ‘The Way’, before blending escalating synths for a rolling workout.

Life might be a predominantly linear affair, but when lived right, it’s nevertheless a turbulent experience. It’s a system of trial and error, ebb and flow, order and chaos, action and reaction. And paradoxically, this system somehow still feels balanced amid all this turmoil. In fact, the same can be said about Keope’s second longplayer for Bigamo. Easily.

Keope might be a duo consisting of Marcus Rossknecht and Toni Bruna, but they actually sound like a collective of rather nomadic - and heavily gifted - musicians on their ever-present quest to reach different musical spheres. Everything is in motion, everything is in constant flux. Everything, everywhere, all at once. Their previous record “Triangulo“ already provided the audience an idea of their elaborate rhythmic vocabulary, but it’s the cryptically titled “Flikka Flokka“, which sees their multilayered compositions bloom into a fully-formed, new musical Esperanto.

You can immediately sense that Keope must be a phenomenal live act because the twelve tracks on “Flikka Flokka“ sound as if they were born from endless jam sessions fueled by a whole variety of influences. As a result, the work of Rossknecht and Bruna presents itself as a prime example of sound in motion that responds solely to its very own pulse by taking the aforementioned influences and making them completely their own. Now, let’s dance!

Next up on Toolroom’s 4-track vinyl sampler series is another tasty collab from label founder, Mark Knight with legendary House DJ and producer Todd Terry and the Darryl James & David Anthony Project. Diving straight back into that classic 90’s House sound, Mark Knight delivers a taste of his finest production to date after unearthing Todd Terry’s edit of ‘Buddah’ by Darryl James & David Anthony Project, shaping up a seriously killer reworking of this gem fresh for the dance floor in 2023.

Next up, renowned German selector Eddie Thoneick makes a label debut with his club orientated big room weapon ‘Take It Back’. Taking it back straight through to the dance floor, Eddie Thoneick has become a name synonymous with high quality productions, providing remixes for Armand Van Helden, Steve Angello, Bob Sinclar and David Guetta. Eddie’s chunky production style shines through on ‘Take It Back’, offering up a slice of raw Tech House with deep, rumbling bass lines, metallic percussive elements and a resonating hook which will cause uproar in any club its played in.

Up next is another heater from DJ, producer and Toolroom Academy tutor Pete Griffiths who drops what can only be described as a House anthem in the making, with his brand-new track ‘Get Together’. A peak time record that sees Pete Griffiths dive deep into the sound of 90’s nostalgia, dropping a seriously well-produced and classy House banger. Also featuring on the record is American R&B, Gospel vocalist Ann Nesby, formerly the lead vocalist of the Sounds of Blackness ensemble who brings her powerful vocals to the forefront, elevating this release to anthemic status.

Last but not least, Hungarian duo Muzzaik return to the label with StadiumX on their collab track ‘Echoes’. Together, Muzzaik and StadiumX bring their signature sound to Toolroom with ‘Echoes’, a record that’ll command any dance floor it’s dropped on. Featuring a toughened-up groove, rolling bass line, and chopped vocal cuts mixed with just the right amount of edge.

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

Here we are - the new release from the italian project Club Soda is finally here!

The trio, made up of Nicola on bass, Simone on drums and samplers, and Filippo on keys, is bringing some real, raw, authentic sounds to the table. Their first LP, "Vibin' Places" dropped in 2020 and it's a versatile homemade electronic album that hits different, whether you're a listener, DJ, or clubber.

This new EP is fire too. A1 track "Basso e Batteria" with Sara Loreni on lyrics and vocals, has clear echoes of a '00s vocal-house joints, but sounds like it was recorded in a Chicago basement. The dirty grooves, thumping bass, and enveloping pads create a free-form vibe that's perfect for you summer madness.

But then they go and take it to the next level with the remixes on B side. Cristalli Liquidi's remix is on some current dance floor-ish, with bouncing rhythms, a wild bassline, and a catchy vocal cut. And Hill's dub mix is straight up trippy - like you're lost in a warehouse at 6am, with dreamy pads, a solid bassline, and rhythms that are distant but still pull you in.

And let's not forget "Gin Tonic" (A2) - it's a dope sunset jam session that's pure “Club Soda style”, with congas, DX7 keys, funky bass, and an MPC chop. This EP is the real deal, from start to finish! Shout out to Giulia Dall’ Ara for the sick artwork on the cover and label too - she killed it!

Rossi. invites Mad.Again to HOMEGROWN. as the first guest artist on the label for his ‘Beware Of The Dog’ EP, accompanied by a remix from Liquid Earth.

Home to two stand-out releases from the label boss himself to launch the project, Rossi. now opens the doors of his bubbling HOMEGROWN. imprint for the first time as he welcomes an emerging talent making plenty of early noise. Introducing Mad.Again, a DJ/producer from East London whose early support from the likes of tINI, Enzo Siragusa, and Jamie Jones has already seen him lining up alongside artists such as Dungeon Meat and Tania Vulcano. Following material on Dansu Discs and his Kennel Club Records imprint, he arrives on the label with three powerful originals across his ‘Beware Of The Dog’ EP, with Los Angeles’ Liquid Earth stepping up on remix duties.

Opener ‘Steppin’ is a lively, rave-drenched production as vibrant stabs work on top of a bumping bassline and skippy percussion, while ‘Dolce Far Niente’ draws for tough-hitting drums and bendy synths. On the B-Side, ‘Point5’ is a skippy effort guided by hip-hip samples and spaced-out breakbeats, before Liquid Earth closes the show in style with a trippy, wonky and off-kilter take on the lead track as he journeys deep into the hazy early morning hours.

DJ Support

Sally C
Pete Tong (Radio 1 Support)
Chris stussy
Enzo Siragusa
Raresh
Cristi Cons
Voigtmann
Reiss
Archie Hamilton
Rich Nxt
Nu zau
Sepp
Sit

A moment in time. A casual afterhours jam with friends. Out of which something special comes together.

The story behind Hudd Traxx label head Eddie Leader’s new single is one that begins with a rescue mission. Driving from his base in Manchester to London, to collect a stranded Chez Damier, due to a cancelled flight, and deliver him to his gig in Manchester that same night. Old friends, on a mission and putting the world to rights on their way.

Post gig, deep in merriment, and having given way to the lure of the machines, both Eddie, Chez & Tomson spent time jamming in the studio, recording vocals from which came the classic track 'I Am With You'. Until very recently the remaining stems and ideas were locked, but never forgotten, in the Hudd Traxx archives. Late last year Leader dusted them off and set to work on crafting a new single…. Pressure.

Pressure was born from a distinct lack of. A factor that radiates from the speakers as Leader crafts an unhurried and simple groove, built upon a warm bassline and glistening Ivory chords, all garnished by Chez, featuring under his Kids In The Streets alias, with his soulful vocal delivery.

Hudd Traxx present Eddie Leader ft. Kids In The Streets ’Pressure’, complete with Dub, Instrumental and Dubstrumental mixes.

Nothing tells you that the summer is approaching than a tip-top scorching hot remix package, with 3 fresh perspectives causing UV rays to pierce out the soundsystem with the hit of every bongo.
Take it as a soundtrack for the balearic block party of fantasy; a communal affair of trance-dance conjuring and conjugation, genetic cellular beings fusing via common sound and familiar yet distant rhythms. Time to stretch, whether your face or legs, with the odd glance and side-eye around to your fellow dancers to confirm ‘mmmm yes’.

Each mix seemingly holds a place with the movement of the sun; Telephone’s mix bringing the street together through the day, Audrey Danza’s descending into dusk, Jogada’s ascending for the dawn, and the essential bonus track for when the daydream finally melts away...

Tropical Disco Records open their 2023 vinyl account in triumphant form with Volume 27 of their well loved 12” series. Yet again they have successfully delivered a four track paean to the boundless dance-floor power of jazz infused disco. It’s a sound which the label has very much made their own over the last half decade.

Opening proceedings is Scruscru, an artist whose immense rise to prominence has very much followed the same time-line as Tropical Disco. He is in glowing form here with vinyl opener ‘Phunk U Do’, a slinky hip-shaking 70’s funk-fuelled disco bomb. Expect this one to set dancefloors on fire across the summer with it’s swirling keys, James Brown-esque vocals and ferocious bassline.

Next up are Lance and Disco Strummer who keep the feel-good vibes topped up to full with ‘Hey Amigo’. An ever so cheerful Latin bomb, it packs in happy-go-lucky vocal loops with brass stabs aplenty alongside a shoulder shaking bassline which will keep those floors grooving from dusk till dawn. If you want to unleash uncontrollable joy in your DJ sets, look no further.

Over on the Flip Tropical Disco’s own Sartorial delivers a smokey sexy-as-hell vocal gem in the shape of ‘Fly’. Merging 70’s jazz licks with a powerhouse live bass, sublime sax solos a divine vocal and some serious scatt, this is a track that just exudes cool.

Closing out the EP in style is one of Mexico’s finest disco proponents, Monsieur Van Pratt. On ‘Journey’ he deploys a huge brass section and percussive breakdown to serious hip shakin’ effect. With guitar licks and synth stabs galore he has given this one both a ridiculously tight groove and bags of warmth. It’s a winning combination.

Tropical disco have yet again unleashed another exquisite 12” showcasing their unique sound. You can expect to see this one hitting the heights of the vinyl charts in quick smart fashion.

Support across Mi Soul & House FM.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

Repress!

CLUB UNITE RECORDS PRESENTS: BLAK 'N' ORANGE

Old school house music at its best!

This EP gets off to a perfect start with "Keep It All Inside", a straight track with dirty kicks and snares meeting rough chords and melodies. Uhhh!

"Luv The Way" cannot be surpassed in its purity and its efficient minimalism. This track should be played at high volume!

The B-side gets us a little deeper with two versions of "Join The Jam" and rewards us with everything that enchanted us in the 90s: smashin' grooves, deep chords and soulful vocal samples become an incomparable musical and equally danceable highlight. Hypnotizing!

Sidney Charles welcomes M-High to his leading Heavy House Society imprint and the Dutchman drops a classy four track EP of exceptional high quality laden with groove style and panache.

M-High is known to many within the Minimal and Deep scene through his releases on prominent labels such as Locus, META, Rutilance, Politics of Dancing PIV and more. These releases have been supported by a who’s who including Archie Hamilton, Chris Stussy, Phil Weeks, Jamie Jones, Sam Divine and many others. This support coupled with always fire releases and his highly impressive record selection in his sets has seen him being booked at in demand venues and festivals including Fabric London, BPM Costa Rica, Mint Warehouse Leeds, Thuishaven Amsterdam, Defected Croatia and more, and now Sidney Charles welcomes him to his Heavy House Society imprint and once again the young talented Dutchman does not disappoint.

His ‘Up The Attic EP’ is a luxurious blend of house ranging from the more jackin’ warehouse style of ‘Jackstion’, to the sensuous bassline roller ‘Let J Say’. He then takes you on a powerful deeper journey with ‘That Reminds Me’ and he rounds off the EP with the lofty and effervescent title track ‘Up The Attic’, making this an essential must have for those who like their music, intelligent, understated yet highly danceable and chic.

Metro is one of the most recognized underground rap producers. He has already collaborated with Guilty Simpson, Wildchild, MED, Oh No, Rakaa, DJ Babu and Percee P to name just a few.

The album "Blunted Fusion" 2LP is his most refined album. This time without guests - only sophisticated samples, cuts and fat beats.

Plus amazing graphics designed by SewerX. This is the most beautifully released album in the 21-year history of JuNouMi Records.

RNT brings the heat for their 2nd outing in their Family Affair compilation series, representing both their ever-expanding RNT ménage, as well as their tight knit musical nuclear fam.

Side A welcomes two seasoned producers to the catalog for the first time: Red Axes with their flip of fellow Israeli Nenor’s banger 'Do You Remember', and Chicago legend Boo Williams comes correct with 'Besty Smith', characteristically bumping and soulful.

OG RNT artist Frank Booker delivers his classic sampley deep sound with 'Time Won’t Tell', and Underground System’s Peter Matson takes JKriv’s 'Something Else' in a synthy and modern electro disco direction to round out the B side. Aural hugs all around in this fam jam!

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."

"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."

The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."

Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.




1981 - 1990: Future Sounds of Now

In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.



Early 80s

Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.



EBM Wave - Mid 80s

From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.



US House - Late 80s

You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.





Afrobeat

Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.



UK-US-Euro - Late 80s

Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.



Balearic - Late 80s

Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

The absolute Don of Italo piano house, Don Carlos brings his legendary sound to RNT with an EP of classic floor fillers. Don (Carlo Troya) and S-Tone (Stefano Tirone) released two records on Bologna label Calypso in the early 90s under the artist name Montego Bay.

Incredibly, the four tracks on this EP were also produced 30 years ago, then shelved and forgotten about until recently when a connection with RNT inspired to Don dig up their rare vintage! From pumping melodic house jams like Music All Night and Waited So Long, to sampled disco house cuts Keep Dancing the Boogie and Gotta Keep Dancing, this EP is a veritable time capsule, dripping with the swag and sonics of the golden era of 90s club music.

Chloé Robinson & DJ ADHD still aren’t short on fuel. In fact, they seem to only be boosted further by their own supply. With such a weighty momentum driving forward their newly established identities, only one big question sits adjacent in the saddle: what’s next? It seems that Chloé and Alex already have the answer for today’s daily summon, and for the next Pretty Weird release, it’s a 4-track techno record reiterating the trusted adage of less being more. With an emphasis on space and silence placed intuitively, the first single from the ‘Steamin’ EP finally gets its much anticipated drop - including a killer remix from close friend Four Tet stamped on in classic, inimitable style.

‘Steamin’ is all serrated kicks, 909 drums and tenacious vocals that yell without inhibition, invoking the looseness of a party spiralling unphased into its collective apex.. ‘Redbull’ scales up on the pyrotechnics and rowdy behaviour, taking the sensation of several shots of caffeine and packaging it into a mean, raucous pick-me-up.

For ‘Pax’, Chloé and Alex continue on the stripped back disorder with white-hot conviction through rhythm and textures that find their power through no-frills, unpretentious simplicity. Kieran Hebden steps up for the remix, nodding back in appreciation to the past through the nestling of a sharply redefined ‘Pulse X’ sample alongside his addictive, punchy production all too suited to those can’t-go-home-just-yet stints.

Early support from artists including Four Tet, Peggy Gou, Jamie XX, Floating Points, Ben UFO, Caribou, Skrillex, Mary Anne Hobbs, Bradley Zero, Bonobo, Saoirse, Zenker Brothers, TSHA, HAAi, I. Jordan, Logic1000 and Pearson Sound.

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.