Buscar:sel

180gm Clear Vinyl housed in a 3mm wide spine sleeve with printed
inners, Remastered by Alchemy Mastering At AIR from the original
production tapes
The Selecters's second album, Celebrate The Bullet was released in February
1981 as the follow up to the successful 2 Tone debut album Too Much Pressure,
along with the hit singles On My Radio, Three Minute Hero and Missing
Words.Switching labels to Chrysalis Records, the band returned to On My Radio
producer Roger Lomas, moving into a more melodic slower pace, whilst keeping
their lyrical commentary on racial and social issues. Original members Desmond
Brown and Charley Anderson departed before the recording began, with Lomas
and Norman Watt- Ray (Ian Dury) helping on bass before new members James
Mackie and Adam Williams joined to complete the recording.
Due to unfortunate timing, upon release the title of this album was
misunderstood due to the recent murder of John Lennon and an assassination
attempt on U.S. President Ronald Regan meant radio stations didn't support the
single or album and the release was largely ignored.
This forgotten classic from the 2 Tone era is a timely reissue and will give time
for a re- evaluation in the same way the 2021's reissue of too Much Pressure
showed the band as relevant.
Pauline Black, who was recently awarded an OBE in 2022, and the band will be
touring in November 2022 and into 2023 performing the album in full along with
selections of their previous album.

On April 29, MCC Magna Carta Cartel broke the 5 years silence with the
new speaker-breaking single "Silence", the first from their long awaited
second album "The Dying Option" - An album best described as rock
music from the world of dreams
Led by Martin Persner, one of the Nameless Ghouls of Ghost. MCC create
cinematic sounding themes with captivating melodies and poetic lyrics. Their
upcoming album "The Dying Option" offers a ticket into a state of mind seldom
seen or heard in modern music. Here they manage to use classic rock to create
an ambience beyond the regular riffs of today's rock and deliver ten fantastic
songs far beyond what anyone could have expected. "The Dying Option" is
produced by Niels Nielsen (In Flames, Ghost, Dead Soul) together with MCC. The
album artwork is created by the renowned film director Claudio Marino
(Behemoth, Watain, King Dude) and David M. Brinley (Ghost). MCC teamed up
with acclaimed Swedish film director Sebastian Jern for the Silence-video.

40TH ANNIVERSARY EDITION.With this album a fuse was lit, leading to
an explosion that spawned a new religion: Bad Religion
How Could Hell Be Any Worse?, their second record and first LP is nothing short
of genius. Shattered-glass guitar riffs, fast, furious drums, and a 16 year old Greg
Graffin's voice for the ages. The coalescence of lyrical intellect and savage music
make for a sound seldom (if ever) heard before. The impact of this record still
resonates to this day. Classic tracks like Fuck Armageddon...This Is Hell,
American Dream, and The Voice Of God Is Government are as crucial and socially
lucid as the day they were created in a southern California garage. When the
greatest punk records of all-time are discussed, How Could Hell Be Any Worse? is
sure to be mentioned.

2022 White Vinyl Repress

JUZER by Beau Wanzer and Dan Jugel finds new stomping grounds at RUBBER with a four track release including a fresh remix by Unit Moebius Anonymous. Wanzer and Jugel, two pillars of the Chicago underground are known for their distorted jacked techno which is heavily rooted in the Chicago tradition. Together with Beau Wanzer we have selected three archival tracks made prior to Jugel's passing in 2018. The result is a grinding ensemble of raw techno jams that tips its hat to the different electronic flavors of Chicago and The Hague.

White Vinyl LP. RIYL: Aldous Harding, Jenny Hval, Marlon Williams, Joni Mitchell, Leonard Cohen. Revered Sydney songwriter Laura Jean returns with new album Amateurs, her first record since the much-celebrated Devotion in 2018. Amateurs is a stunning, string-laden album, set at a mystical midway point between the deep synth-pop of Devotion and the folkier sounds of Laura’s earlier work. The album features backing vocals from Aldous Harding and Marlon Williams on three songs (Teenager Again, Amateurs and Folk Festival). Laura worked with producer Tim Bruniges around Sydney’s long 2020-2021 lockdowns. Erkki Veltheim (Gurrumul, Cat Power) arranged gorgeous strings for the album, which were recorded in Melbourne by Devotion producer John Lee. Amateurs is an album about anti-art and anti-intellectual culture in Australia (but applies equally to other parts of the world). It sees Laura questioning her role as a songwriter and examining the reality of her choices to prioritise art over other parts of her life. It is also a warm hearted, humorous and sonically breathtaking album. “Amateurs means to do something for love, not money, and somehow it’s become a dirty word, shorthand for a failure,” says Laura. “These songs arise from my acceptance that I will always be an ‘amateur’.” 2018 album Devotion had superlative reviews from Pitchfork, Gorilla Vs Bear and elsewhere, and made it into end of year lists for Spin, Idolator, Apple Music and more. Laura also acquired some high-profile fans such as Lorde and actor Brie Larson. She did two UK/Europe tours in 2018-19 with Courtney Barnett and Aldous Harding. Laura has twice been shortlisted for the Australian Music Prize and has recorded with Jenny Hval as well as Aussie icons Paul Kelly, The Drones, and Rolling Blackouts Coastal Fever. “Maybe the sharpest communication of the spooky, all-consuming nature of feminine love” – Lorde. Selling Points: Backing vocals on three tracks from Aldous Harding and Marlon Williams. Sumptuous string arrangements from Errki Veltheim, who has played with everyone from Cat Power to Mike Patton. Laura featured on Jenny Hval's 2019 album The Practice Of Love, and Jenny sang on Laura's self-titled album from 2014.

The musician Roberto Enrique "Tito" Chicoma forged one of the most solid and constant career paths in Peruvian music. Self-taught, he started playing tenor saxophone in his father's orchestra, also playing the trumpet, piano or trombone when the occasion arose. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the Koki Palacios and Armando Boza orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by América Televisión, starring on programs such as "El Show de Juan Silva", where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group Los Teen Agers. The praise the single received led to the recording of his first LP, "El ritmo de moda", where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: cumbias y boogaloos. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of Andrés de Colbert, Mario Cavagnaro, Eulogio Molina and Lucho Macedo recorded cumbia hits, then the genre soared when groups like Los Pacharacos and Los Demonios del Mantaro mixed it with Andean music.

Two decades at the highest level in this industry is a landmark really reached. Pig&Dan celebrate this major milestone with an immense, twenty-track album project ‘20 Years: Pig&Dan’ of which this eight track, 2 X 12” vinyl sampler cherry-picks some of the finest moments.

Released via their long-standing record label ELEVATE, the album delivers some of the duo's most forward-thinking techno productions to date. It is a remarkable opus of intelligent, cutting-edge dance music from two artists who came together back in 2002 to form what would become one of the most prolific and globally revered acts in electronic music.

Unyielding in their commitment to originality, eclecticism and tradition, the album will feature an array of brand-new Pig&Dan productions, alongside a selection of new 'update mixes' of some of the duo's most celebrated anthems.

Speaking about the twentieth-anniversary project Pig&Dan commented:

"It's almost hard to take in that we are celebrating a 20-year milestone of producing and performing together. This project features an array of fresh unreleased euphoric productions that hold a sound that we hope represents our growth in sound. We've also included a selection of new, updated 2022 versions of some of our more celebrated productions from the last two decades. We really see it as more of a statement than an album, hence the fact there's a track that represents every year on our musical journey."

Forget your search for a holy grail, THIS is The Lost Ark Of The Covenant.

Walter Gibbons presents 'The Ten Commandments Are The Law Of The Land'
It will melt your face and make you clap yo' hands!
Mythical disco foundations from Sunshine Sound.




Label Info:
Take a journey to the dawn of DJ culture with Sunshine Sound, the NY imprint that through a series of genre defining Disco Edits became recognised as the 'Birthplace of the Edit'.

These 'Disco Adjustments' would become the hottest tracks in a DJ's crate, spawning countless bootlegs & imitations since they first appeared so many years ago.
As influential as these recordings were, most only appeared as acetate discs individually cut in mono & sold direct to DJs.
Some of these were cut in such small quantities it could be debated as to whether they ever really existed at all.
40 years later and all that remains are remakes & rumours...

...or so it was thought.



Sunshine Sound rises again to bring you a series of classic, legendary & mythical Edits.
Travel back with us to re-discover monumental works that helped shape the sound of dance music as we deepen the textures of history with a series of exclusive Digital & limited Vinyl releases selected from the vault.
Sunshine Sound releases are distributed by Moonshine Sound, bringing you antiquities of historical Disconificance.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s deliv-ered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Al-right’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Lat-in shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmer-ing synth-strings, twinkling melodic motifs and glis-tening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sump-tuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe contin-ues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in wait-ing: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

Es sind die wohl bedeutendsten Alben ihrer Karriere: 1991 veröffentlichten Guns N‘ Roses ihr drittes und
viertes Studioalbum “Use Your Illusion I & II“ - beide am selben Tag, dem 17. September. Beide Alben,
die in ihrer ersten Verkaufswoche mit 685 Tsd. und 770 Tsd. Alben in den USA einen Verkaufsrekord aufstellten und selbstverständlich Platz #1 und #2 der Billboard Charts belegten, warfen legendäre Hits, wie
”November Rain”, ”Don’t Cry”, ”Knocking On Heaven’s Door”, ”You Could Be Mine” oder ”Civil War” ab.
Zum ersten Mal erfuhren nun alle Tracks eine musikalische Aufbereitung und kommen in zeitgemäßer
Tonqualität daher. Neben allen bekannten Albumtracks gibt es auf den Deluxe Versionen Aufnahmen von
zwei Live-Konzerten in Audio- und BluRay-Qualität, sowie eine neue Version von “November Rain“ mit
einem 50-köpfigen Orchester.
Die größte Deluxe Version der neuen Editionen bringt es auf 97 Tracks – 63 davon bisher unveröffentlichte
Audio und Video-Tracks - sowie ein 100-seitiges Hardcover-Buch, Backstage-Pässe und vieles mehr.

LPC1 is on limited Ultra-Clear vinyl. A well is a stone-encircled place of depth, keeping an abundance of water for survival. “Well” is also a phrase for pause, for transition in language. Our tears can well up and bubble over. To define ourselves as “well” is the most basic term of goodness. What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album A Swollen River, A Well Overflowing becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy. A Swollen River, A Well Overflowing is Tenci’s second album, coming after their 2020 debut My Heart Is An Open Field, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. A Swollen River, A Well Overflowing shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”

LPC1 is on limited Ultra-Clear vinyl. A well is a stone-encircled place of depth, keeping an abundance of water for survival. “Well” is also a phrase for pause, for transition in language. Our tears can well up and bubble over. To define ourselves as “well” is the most basic term of goodness. What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album A Swollen River, A Well Overflowing becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy. A Swollen River, A Well Overflowing is Tenci’s second album, coming after their 2020 debut My Heart Is An Open Field, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. A Swollen River, A Well Overflowing shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”

Selected Productions is a collection of tracks produced by Tom Chasteen in the late 90s and released on the Exist Dance label.
Exist Dance started in Los Angeles in 1991 and was among the first labels to emerge from the LA Rave scene of the time, although musically the label pursued its own path , sometime in tune with rhythmic warehouse madness, sometimes heading elsewhere.
These tracks emerge from later in the Exist Dance story, when Tom Chasteen was living in Prescott, AZ, performing at Phoenix and Tucson raves and clubs and steadily releasing small pressings of 12” singles and EPs.

Ghost Story is a high desert tale, emerging from the hours long Roland 303 and Space Echo based live performances Tom was doing at the time, condensed into a dramatic vinyl side and featuring guest guitar work from Clive Wright.

Champion Sound is a remix of a 1991 Exist Dance release, the original being perhaps the first “Breakbeat” track from the West Coast. This version expands the concept of remix to its limits, keeping only some vocals from the original and setting them free in a new psychedelic landscape.

The Accident Of Birth takes the breakbeat style to a darker galaxy.

“24” is Minuit Machine’s 4th LP. Electronic masterpiece, subtle mix of dark wave, techno and electropop, “24” is both surprising and seductive. Authentic, emotional and powerful, “24” is a real immersion into Minuit machine’s dark, dystopian and futuristic world. Through this LP, Hélène and Amandine are facing all obstacles and disappointments life brings on their way. Each track is a self-affirmation, a rallying cry and an urge to live. The instrumental part is clearly marked and contributes to create the band’s unique sound. The strong beats are a call to dance while the synths, stabbing and emotional, will definitely move you. Finally, the deep basses give the tracks an “EBM” touch. Vocal lines are more pop, with less reverb. They are meant to obsess and stay in your head all day long. They were thought of as a 90's dance music chorus, but with feelings. As usual, the lyrics are very personal and describe several states of mind. Since their creation, Hélène and Amandine kept on reinventing themselves in order to translate their inner questioning and emotions into music. From this point of view, “24” could be Minuit Machine’s most accomplished work since each track sounds like a confession.

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

Four of DFTD’s latest releases have arrived on wax for the very first time. The A-side begins with Darius Syrossian & George Smeddles’ collaboration ‘Back In The Dance’. This uplifting dancefloor-ready groove with ‘90s influences marked a solid return to the floor after a long lockdown, and quickly became a favourite of top selectors. Next up on the A-side is the Transcriptions Mix of youANDme’s raw DFTD debut: ‘Moment’. Released in collaboration with Georgian singer-songwriter Kristina Sheli, this record cemented their status as contemporary powerhouses of the Berlin club scene. The B-side opens with OFFAIAH’s ‘Up All Night’, a fiery track that makes the perfect addition to any house set; the Las Vegas based artist continues to demonstrate his taste for catchy hooks and intense builds. The B-side continues with a record that has consistently dominated dancefloors throughout summer ’22, Marco Faraone’s powered-up remix of R.E.A.D’s ‘Where’s My Phone?’ featuring Sailor Jane, which closes out the package.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

Formed in 2018, Brooklyn’s Gustaf have built a kind of buzz that feels like it comes from a different era. The art punk 5 piece rapidly established a reputation and early excitement about their danceable, ESG-inspired post punk expanded outside of their city with remarkable effect despite having released no recorded music and barely having an online presence. As a result of their magnetic live show the band found unlikely early champions, catching the attention of luminaries like Beck – who had the band open for him at a secret loft party he played around the release of his latest album – the New York no wave legend James Chance, and shared stages with buzzing indie acts like Omni, Tropical Fuck Storm, Dehd and Bodega, while word of mouth led to sell out shows when they played their first LA headline dates in late 2019. They finally released recorded music in the form of their debut 7 inch at the end of 2020, which only furthered the growth of their reputation, earning them comparisons to acts like Television, The Talking Heads, The B-52s and LCD Soundsystem. Now, the band release their debut LP, the magnificently titled Audio Drag For Ego Slobs, on Toronto’s Royal Mountain Records (Wild Pink, Alvvays, Mac DeMarco).

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

Real Feel Records looks to blend old and new in paying tribute to the roots of U.S. house music. Real Feel is the vehicle intended to bring it back to basics and create a platform to boost US-based artists in an inclusionary way. The label is run out of DC, pressed in the US, and will look to elevate Black, Latinx, AAPI, women and TLGBQ artists—new and OG—in the US. The intention is not to come in and Columbus anything--we all know vets in Detroit, Chicago etc have been self-releasing material for a long time; but rather give a channel for new artists while blending in established names.

For its first release, NY DJ, producer and multi-instrumentalist Toribio baptizes Real Feel Records with the Brown Cocoa Skin EP. The record is chock full of lush, swingy tracks built for the dancefloor. The legendary DJ Spinna contributes the finishing touches with a monster remix.