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With Dark Slice 02, La Dame Noir records is serving up 4 tasty re-interpretations of T21 classic "Take The Shock Away" in the line of their latest Darkness Has Never Been So Bright releases. Originally re-produced by co-founder Relatif Yann, long time resident Dawad and the amazing Mounissa on the vocal, the EP also presents 3 dancefloor remixes produced by indie band Vox Low and disco-house specialists Pete Herbert and Fred Berthet. Once again the Marseille-based, La Dame Noir record label is cultivating their love for disco basslines, sensual vocals, and new wave atmospheres.

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

Few albums have treated human voice and drone as a whole entity like ABoneCroneDrone, the third in a trilogy for Real World Records that this record closed back in 1996. In Sheila Chandra’s own words “it was about the gateways between vocal techniques from different cultures and how it was possible to cross between them within a single word or phrase.”

Indipop Recordings founder Steve Coe, probably best known for helping to popularise the term World Music in the early eighties, produced and worked with extreme accuracy along with Chandra on all drones and set a new industry standard of what was possible in the treatment of voice. With the help of bagpipes, didgeridoos and guitars, ABoneCroneDrone puts drones under the microscope and encourages listeners to retrain their ears to hear the nuances that musicians have always heard in them. Emitting low, chantlike waves, Chandra sings deep spaced atonal words while haunting chord sounds flow and drones slowly interact with listener.

This is the first vinyl pressing. It includes a fold-out insert with a new Sheila Chandra interview, original sleeve notes edited by Chandra herself and unseen pictures taken from the 1996 sessions. Limited to 500 copies, no digital release this time.

“The artistry of ABoneCroneDrone is in the attention to detail. The album is beautifully performed, mixed and compiled with intelligence and strong sense of structure. It makes good use of a listener’s valuable time while issuing a challenge to hear in a fresh way.” John L. Walters, The Wire issue 150.

The latest addition to Furanum's discography arrives as an EP entitled "White Cold Skin" that simultaneously marks the emergence onto the scene of Beuthen OS. In keeping with the central ethos of the label, the figure behind the guise interrogates and ably materializes the industrial aesthetics of raw power and dystopic bleakness within the confines four diverse yet thematically coherent compositions.

The exploration of said dichotomy is cogently on display within the eponymous track, where an immediately evident presence of inordinate subsonic force is gradually complemented by the imposing throes of harsh yet carefully crafted analog cyclicality. Linearly hurtling toward its final destination, it relentlessly batters the listener with exhilaratory waves of cold sweat in its wake.

In contrast, "J131" and "Porobieni" present far more dispersed and unorthodox rhythmical structures as they maintain the omnipresent sense of part thrilling, part foreboding unease that permeates the record. Propelled by a pervasive pendulatory sway, the former radiates barely repressed power as it exerts its existential narrative, while the latter seems to speak to the ritualistic submission of willing bodies continually broken on the rhythmic wheel of a self-perpetuating cycle of sonic gratification.

Finally, recorded live and serving as an apt epilogue, a beatless yet by no means any less compelling droning rendition closes out the record. Whereas overt melodic content was hitherto eschewed in favor of rhythmic complexity, the piece more than delivers on this front, thrusting the audience into an ever encompassing and vividly visceral collage of throbbing textures as it progresses towards the revelatory unconcealment of a recondite core.

Mastered & cut by Kassian Troyer at Berlin's Dubplates & Mastering,

Ever since their debut 7” landed on our doorstep unannounced, we have been captivated by the powerfully understated movements of the duo known as Undefined. Sahara (keys/bass/programming) and Ohkuma (drums) have deep roots in the Japanese dub and reggae scenes (Heavymanners, Soul Dimension) and operate their own experimental dub label, Newdubhall. Recent collaborations with Kazufumi Kodama (of dub elders Mute Beat), dBridge, and Kabuki are nudging the group further into a spotlight that they richly deserve.

Named for the 3-feel of its colossal groove, “Three” is a locked groove of pure downtempo dubwise, techno in its repetition, hip hop in its tempo and swagger, motorik in its muscularity, meditative in its clarity. Featuring the unmistakable voice of ZamFam Rider Shafique, showcased in a moment of profound introspection and vulnerability, “Three" banishes all thoughts of flash-in-the-pan “big tunes” for an incredibly deep and immersive dive.

“Three Dub,” a version in the classic sense, strips out the vocal entirely to focus on the rockstone riddim, crafted of one of the most captivatingly beautiful bass tones we’ve ever heard, combined with wicked drum turnarounds, lightning hi-hat work, and extremely subtle & sophisticated dubbing technique. A masterclass in dubwise essentialism and profound attention to detail, stripped down to the foundation yet incredibly lush and alive.

Strictly limited to 600 copies for the world. No digital, no repress. Design & screen print by Polygon Press. Mastered by Sam Precise.

Ross Alexander first came to our attention with Memorias Vol.1 - Bugandan Sacred Places, released back in 2017 on Sucata Tapes, it featured a mind altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result being an unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume of Memorias presented here arrives now on the mother label Discrepant, on Vinyl with an expanded sound palette appropriate to the format.

Memorias Vol.2 - High Atlas To The Sahara Desert is the logical progression of Volume 1. - based on a series of field recordings Alexander made during a trip through the High Atlas Mountains and into the Sahara Desert in 2018. The aim of the trip was to visit a gathering of nomadic musicians at an oasis close to the Algerian border. Like Memorias Vol1. the recordings made on the trip were then later processed, layered and arranged with original compositions. Where Vol1. had clear nods to New Age music this volume explores the more ambient side of 80’s Industrial sound.

Ivaylo is next up on his Bogota Records imprint with a pair of fresh new cuts that come complete with a remix from Hugo LX. Bulgarian native Ivaylo is based in Oslo, and has vast experience of the dance music industry, having continuously proving himself as an essential DJ and producer, most recently his release on Cassy's Kwench Records 'Ae Way'.

He delivers again here with Hausa, a deep roaming tune with a bassline that immediately lifts your energy. It makes for a back room track that is super tasteful and filled with warped synths and deft percussion that gets under your skin. Hugo LX serves up a tripe remix with tiny little sonic details, a spooky sense of late night mischief and neon melodies that really standout.

Last of all, House Moult is a busier, more bristling cut with jostling drums and underlapping bass, an inventive sense of musical warmth and plenty of fresh ideas that are finished with an anthemic vocal that will get the crowd on their toes.

This is another standout EP from all concerned, and another great chapter of Bogota Records.

2 years ago the track Still Numbers on Ekin Fil's album Heavy caught the attention of a certain Richard D. James, who under his 'user18081971' username reposted the track to his now historic Soundcloud dump.

This is also how Ekin’s work initially caught the labels attention; at first listen it sounded like a unearthed Grouper demo, a parallel that can be drawn respectfully, seeing Ekin’s trade marks are also those forlorn, muffled vocal whispers, layered under sentimental tape loops, paired with ambience and feedback.

The album itself was originally produced in 5 years ago during what Ekin Fil recalls as a down right depressing and tumultuous time during which she turned to music as a measure of rehabilitation.

Heavy was later released on tape via Lee Nobles No Kings label in 2016 and re-mastered in 2018 from the tape rips by Rashad Backer, preserving the fragile and heavy hearted auditory sensibility found in the original work, while making one of Ekin’s earliest and most personally endearing releases available to a new audience of listeners.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

DNA in partnership with Dinked records brings you the first in a series of 7' collaborations between scratch producers and visual artists. 'DNA Breaks - DJ DSK' showcases cover art by Phnom Penh, Cambodia based French graffiti artist, Alias 2.0 and audio production by DJ DSK. This volume contains 9 skipless scratches and 1 scratch sentence pressed onto a splattered two colour transparent vinyl with a picture cover.

Hamburg-based Mireia Records is ecstatic toannounce their thirteenth release: Julian Stetter’s “Sensual EP”.
You’ve probably crossed paths with Julian in thelast couple of years. Not only because he’s the tallest guy in Cologne, but the producer and DJ has been actively shaping modern dance music
with his flourishing, melancholic sound. He’s been releasing music with Permanent Vacation, Kompakt, Correspondent and hometown labels Ancient Future Now and PNN.

It’s also not his first time on Mireia Records. Remember the beautiful “Porto” on “We’ll Sea
Pt.1?” Here, Julian presents two original tracks which are reinterpreted by SONNS and Matt
Karmil.
The title track “ Sensual ” manages to erase the mundane, the world’s vanishing around you.
It’s pitched shaker and airy bells evoke introspective tones. The bassline on the other hand
keep you steady - the dancefloor is still visible through the clouds!
“ Rumors ” picks up the pace. Kick drum and syncopated hi-hats set the stage for a serious
bassline, interwoven with fleeting melodies.
Bright and euphoric brushstrokes from Julian’s synth elevate the pace and catapult the track
towards a crescendo. Booming snares signal the peak.
New Release Information
Strobe lights, sweat and ecstasy.
SONNS opens up the B side with the first remix by whispering “ Rumors ” in your ear. A
brooding bass line takes you on a trip to the dark corners of the city. Hypnotically chugging
toms highlight the sights. Let’s get lost tonight!
With his releases on Kompakt and strong DJ Sets SONNS’ been a long time favored entrant
into Mireia Record’s catalogue.
Matt Karmil’s version of 'Sensual', although on B2 of the vinyl, doesn’t hide its assets.
Kicking off with frantic high hats and a distorted glitch, he pushes the track forwards
intriguingly. Arpeggiated melodies layered supremely over the percussion drive the track
forwards, the simplicity of the track and sharp cuts and drops create an interesting dynamic
to the single creating a perfect juxtapose to the other tracks on the release.
Matt’s also been on Mireia’s radar for a long time. His atmospheric adventures for Studio
Barnhus, Smalltown Supersound or Beats in Space always convey a spirit of living, breathing
leeway.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

Label boss Von D on DOR005

Here's a little story about this release on my label Dubs Galore:
"When Muttley sent me this tune I though to myself: "Wow what a nice classic from the golden Dubstep Era", so I asked him when this was released - assuming it was, and he said it never was released. I immediately signed it, knowing it's such a great and timeless tune. I asked Quasar for a remix and here we are now, Dubs Galore 005 coming in STRONG!"

Third and last episode of Eternal series, celebrating the 10th anniversary of Attic Music. Four talented Italian artists, as well as old friends of the label, are involved for the closing chapter of the trilogy: Wrong Assessment, Synthek, Conrad Van Orton and PVS.

There can't be too many truly unknown golden era rap records left in 2019, but this is about
as close as it gets. Without a Discogs entry and as far as we can tell only one copy ever sold
online ($800!), 'Poetry' is a rarity in the truest sense. That is despite it being featured on a
recent DJ Shadow mix, which you would have thought would turn up some copies, but
instead left many collectors scratching their heads as to the identity of this previously
unheard track.
Not only is it incredibly rare, it's incredibly dope too! A Josh Davis co-sign always helps
but throw a dope guitar riff, 'Funky Drummer', 'Numbers' and 'Nautilus' (for the remix) into
the mix and you can't really go wrong. We still can't figure out which mix we like best so
you can decide that for yourselves.
S.W.A.T. were from Wichita, Kansas, of all places and have a whole album worth of
unreleased material from back in the days so there's a possibility we'll see more from them
in the future, but until then enjoy the masterpiece that is 'Poetry'!

2025 Repress

2019 marks the year that Music for Freaks has officially been running for over 20 whole years. Two decades of topsy turvy, downright Freakish behaviour. How the hell did that happen?

So, what better time to delve deep into the labels vaults again and uncover more of its hidden treasures. Back in 2015, we approached some of today's most discerning producers, those who truly "get" the label's ethos from old, to let them loose on tracks old and new. It brought to the fore the "Freaks - Let's Do It Again" series of releases and we're super chuffed to bring you the 3rd in the series to kick off the label's 20th anniversary celebrations; a new collaboration with likeminded artists and we think you'll agree it's another testament to the divergent & insouciant house music that has always been the beating heart of this label.

First up, we welcome back the Chilean anti-hero Ricardo Villalobos.

When we sent Ricardo the parts to the Freaks album, "The Man Who Lived Underground" a few years ago, he sent back 5 interpretations which blew our collective minds. This is the 3rd of his journeys. Edited by head Freak, Justin Harris, it delivers a tripped out, discordant tech mix of the Freaks track, 'He's Angry' and is a wonderfully warped and highly hypnotic jam, that drives deep down into the subconscious.

The 20th anniversary wouldn't feel right without some brand spanking new music from Freaks themselves.
This track was properly hidden in the Freaks DAT vaults from the 1990's and Justin & Luke have dusted it off, mixed it down and "Unbeknown To Us" will finally see the light of day. It's safe to say Freaks have always had a timeless feel to their music and this track, despite being 20 years old as an original production, is no exception.

Next up, The Martinez Brothers make their MFF debut and to say we're chuffed to be releasing this one after 3 years of it being in the vault, is a huge understatement. There's nothing but good vibes, cranked to eleven, on this cut and the brothers have cooked up a true rip snorting tech house remix of "Time", that will charm the roof off any self-respecting club or festival tent.

And last but by no means least, fellow previous collaborators on Let's Do It Again, Part 1, Gerd Jansen and Phillip Lauer, aka Tuff City Kids, have graced us with another superb remix of a firm Freaks favourite from back in the day, "Turning Orange". The duo have whipped up an excellent stripped 808, electro-hop mix with low slung electro beats, minor key atmospherics and nostalgic 80s vocal pitch-shifts. Villalobos, Martinez Brothers, Tuff City Kidz and Freaks all on the same record? This is the type of house music madness that dreams are made of.
A fitting start to the celebrations - we reckon you'll agree!

BX127 signs back in with Figure for an EP that is maybe his most intricate as to date.
Four groovy alien transmissions, sent in directly from his headquarters somewhere in the outer rims of Saturn. Seemingly effortless these creatures build their momentum, treating the theme of miniscule power to the maximum effect. The tracks have an elegant air to them, each moving gently at its own pace. Whether through ticks and bleeps, finely plucked 303s or swaying dub chords; all the sounds on display know how to work their magic for some stellar listening experience.

After 10 years of vinyl pressings on Lapsus Records it's now time for our first ever "vocal" release!

Many of our Lapsus Radio (Radio 3) followers may already be aware of our fondness for synth-pop, however as a label we have never dabbled with this often unfairly maligned genre, until now...

From the moment we first heard the material from British artist Circa 2000 something magical transpired. William Wiffen's production blueprint signals a new twist in this forty-year old genre. ‘Thoughts In Vias’ –the album released in 2017 on Computer Club, the sub-label of influential Sheffield label Central Processing Unit– offered the first opportunity for us to witness the work of Circa 2000, the UK producer and composer residing in the costal city of Brighton. After his debut, in 2018 William released the ‘The Sun To The Waxing Moon’ EP on the multifaceted Chilean platform Infinito Audio, in which he delved into his more experimental production side.

Circa 2000 now joins Lapsus Records to present ‘Faith Healer’, his most personal work to date and a palpable tribute to the work of Scottish composer Alex Harvey, during his time leading The Sensational Alex Harvey Band. ‘Faith Healer’ is a seven-track album that revisits the nascent days of new wave and synth. It is an exercise in raw and analogue electronics that transports us back to the golden era of synthetic electronica, in which bands like Deux, Victrola and Monoton redefined minimalism and underground pop.

‘Faith Healer’ will be released in July and available on limited edition vinyl and all digital formats. As always, the Basora studio has once again provided us with stunning artwork for this release.

Jimi Tenor & Freestyle Man, Finnish legends and everything-but-grey eminences of electronic
music, return to Studio Barnhus for another four-tracker full of the good stuff. Deep house as
done by professionals! The world keeps changing, people and sounds come and go, but when Jimi
croons away over Freestyle Man's finn-tastic funk foundations, it all just about makes sense to us.
Plenty of flute solo on this thing as well!