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Seattle's own Manatee Commune (aka Grant Eadie) makes his long-awaited return to
Bastard Jazz with his fourth album, 'Simultaneity'. Lush and vibrant production is
familiar to his previous works, though Eadie has significantly matured in the activation of
space and character. A step away from standard songwriting, and a total disassociation
from lyrics at all, has made this record closer to the ambient genre than anything
Manatee Commune has released, all the while keeping one solid foot in the realm of
dance music.

'Simultaneity', as a whole, is an exploration of the collision between texture and time.
Captured recordings reminiscent of wind in wheatgrass, soft rain showers in the open
plains, and cascading beach sand wash over the mix, splashing into warm drones and
ascending melodies that cleanly syncopate against a steady rhythm. Though decidedly
electronic at times, a raw human element is ever-present in the form of a vocal motif:
just tiny moments of a loving voice lost in a sea of reverberation.

The album is a noticeably positive evolution from previous works. All nine tracks depict
a calmness and subtlety in musicianship, relying primarily on tenuous snippets of live
instrumentation and synthesis that hypnotically coil and coalesce with one another.
'Love Tone', the opening track, features Eadie's partner, a small voice memo clipped
and expanded into an ethereal vocal melody. A crisp felt piano delivers a complex
arpeggiation in 'Mosaic', a warm sonic bath scape reminiscent of Olafur Arnalds or
Kiasmos. Simple, undemanding bass lines drive tracks 'Path' and 'Faulted', though their
simplicity is contrasted with a variety of patterns that combine to create unique auditory
shapes, both building and landing in satisfying climactic movement. The album
culminates in the final track, 'Touch Theme', where a block of sound in the form of a
broad, open synthetic chord warms the ears, eventually twisting and shifting to rhythmic
chunks that shove against a familiar house rhythm.

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

YARN Records welcomes veteran Anton Kubikov for the imprint's eighth release. The "Attic Eccentric EP" features two deeply musical, exquisitely detailed arrangements by Kubikov drenched in emotion and, on the flip side, a 13-minute monster remix by Sleep is Commercial luminaries Andrea Ferlin.

'Last Days' (A1) is a lustrous, sophisticated, deep ride through dubby cinematic spaces where abstract sounds, grainy voices, melancholy, and rhythm coexist in harmony. 'C'est Anna' (A2) continues the cinematic exploration further, expanding the soundscapes through mysterious melodies, grainy atmospheres, and elastic piano echos topped with slightly acid bass stabs, resulting in an elegant, murky dub groover for those looking into music with sonic depth. On the flip side, Andrea Ferlin remixes 'Last Days' (B1), twisting and mutating it into a rolling techno groover of pure dancefloor shamanism. With razor-sharp drum programming, stomping acidic bass, heaps of atmosphere and a barrage of micro-detail, Andrea's rendition of Kubikov's 'Last Days' ends the EP in style.

Slave To Society (ex AnD) returns to Natural Selection with a white-hot industrial Techno EP, entitled 'Ai Invasion', accompanied by an IDM-infused remix from hard electronica duo; Somatic Responses.



Format : 12" Vinyl / Digital



Mastered by Dadub Studios, Berlin. Cut by Simon at The Exchange Vinyl.



After a decade of redefining techno dance floors as AnD, Andrew Bowen returned to his experimental, hardware-focused roots as Slave To Society in October 2019. Since then he has seen his music released by highly revered institutions in the world of hard techno, noise, breakcore, IDM and industrial electronica, such as PRSPCT, Pure Hate, Ohm Resistance and BANK Records NYC. After forming a close connection to Natural Selection in recent years, Slave To Society returns to the London based imprint after releasing via their VA compilation 'NSUKR' with his track 'Tundra', followed by his remix of Kamikaze Space Programme's 'Dust To Dust' from his physical EP entitled, "Ashes to Ashes, Dust To Dust", released on Natural Selection in 2022.

In the form of a 4-track physical and digital EP, 'Ai Invasion' is a sonic exploration of the symbiotic relationship between humanity and technology.

Slave To Society uses carefully designed futuristic soundscapes and atmospheric textures, layered with AI generated vocals, combined with heavy and fiercely unpredictable drum elements.

Expect advanced, experimental hard techno and noise, fused with powerful low-end muscle, raging hi-hats, fragmented percussion and augmented amens.

The release also features a razor sharp and well-placed remix of track B1 - 'Robot Dementia', courtesy of legendary hard industrial electronica duo; Somatic Responses.

In true Slave To Society fashion, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

'Ai Invasion' challenges listeners to question the impact of artificial intelligence on our society and the implications of our relentless pursuit of technological advancement.

Regrooved Records is thrilled to release a limited 45 featuring the legendary Junie Morrison, backed by the dynamic "Crowd Pleasers." Recorded live in 1976, this rare gem captures the raw energy and unparalleled talent of a true funk pioneer. Previously only released as a part of the limited extended edition version of the album "The Funky Worm – Live at Dooley’s 1976" on Regrooved Records, this 7" record is now being offered as a standalone treasure for all funk aficionados. Don’t miss your chance to own a piece of funk history!

Continuing its streak of lit releases, Modeight Records now shines a light on an exciting new Romanian talent Raz, based in Manchester. Injecting some sick minimal house grooves, infectious energy into 4 original compositions. The young artist captivates the listener with his raw and rollicking flow. From the mega fun, head bobbing bassline jam and smooth vocals on "Time Chamber", to the slick electronic riffs of "Fun Ensemble". The deep, sub sonic wiggle of "A Sharp Delay", Raz carves out a sophisticated and hella enjoyable sonic journey diving into "Orange Glide". A breakout release for an artist who's definitely gonna be one to watch in the future.

Initially released exclusively in digital format two years ago, the already cult favourite Whispers Of An Ancient World finally makes its way to vinyl courtesy of Mystic & Quantum but in highly restricted numbers. Featuring artwork by Kilian Eng, this red edition offers a mesmerising auditory journey. Ambient landscapes and evocative ancient ceremonies coalesce with explorations through lush jungles, tranquil acoustic melodies, and edgier dub motifs hinting at a looming dystopian future. Contributions from artists such as Diagonal, Mason Bee, and State Azure enrich its allure as the whole thing adds up to a cinematic tapestry that captivates with atmospheric depth.

Multi-instrumentalist, producer and composer Calcou is set to share his sophomore album Murmuration on July 5th, 2024 via MfRD+C. Calcou's latest singles were picked by worldwide Spotify editorials for playlists like Fresh Finds, Late Night Vibes, metropolis or by Apple US for focus playlists like Today's Chill. He has received support from numerous blogs and magazines such as CLASH Magazine, Stereofox, Cercle, House Music With Love, Majestic Casual and ElectroPosé to name a few. Calcou finds inspiration in the works of Kiasmos, Bonobo, and Four Tet. TetTethlatest release calls to mind the likes of Four Tet, Maribou State and George FitzGera

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

The 15th black label release on Limited White Label marks a
powerful union between Yerevan-based producer Scruscru
(Anton Bogomolov) and the mesmerizing vocalist Henna
Onna. Joined by the talents of Dwaal and Jehan, this
collaborative effort promises a genre-bending exploration
that seamlessly blends house, disco, jazz, and hip-hop
in§uences. Get ready to experience a harmonious collision of
styles, where each track offers a unique and captivating
soundscape.

Prolific visionary Yetsuby makes her debut on all my thoughts with a celestial concept LP that chimes into the deeper, inner emotions.

Yetsuby is the solo project of South Koren artist Yejin Jang. Since 2019 she has carved out a reputation as
something of a prolific visionary, with 6 albums, 7 EPsand a flurry of singles between her two projects to date. Her recent album “My Star, My Planet Earth” received the “best electronic album of 2023" award at the KoreanMusic Awards.

Beyond her solo work Jang is also one half of the critically acclaimed electronic duo Salamanda, which has been featured in Pitchfork, Crack Magazine, and Dj Mag. The duo also host a residency called “shadow dance” on NTS radio. Yetsuby’s debut release on Seb Wilblood’s all my thoughts label is a heartfelt and forward thinking mini LP.

Yetsuby’s debut release on Seb Wilblood’s all my thoughts label is a heartfelt and forward thinking mini LP.
The 6 track release effortlessly chimes into the deeper, inner emotions whilst providing a window into her
abundant breadth of skills through tantalising themes of sonic alchemy.

“I want to put comfort into the music and give some message to people who blame themselves” - Yetsuby

The resulting effect is a release that feels sincere and deeply personal but has a celestial magic about it that feels both kaleidoscopic and transcendent. It effectively creates a world for the listener to inhabit, whilst inviting them to connect with the album’s themes on a personal level.

Debut LP from House On The Strand whose production sensibilities fall somewhere akin to Boards of Canada, Toxe, Fourtet, Khotin & Croatian Amor.

House on the Strand’s debut full length release is a playful, wide eyed and vivid collection of songs that echo the simplicity and nostalgia of 00’s childhood. A collection of colourful and vivid synth tones, fragmented beats and samples across 35mins dance like shapes and colours behind closed eye lids or like imperfect early digital camera footage of summers lost to memory. Sonically, 'Heroine’'s tones and production sensibilities fall somewhere akin to Boards of Canada, Toxe, Fourtet, Khotin & Croatian Amor.

A mastermind in showcasing various shades of house music in their inimitable manner, Danish-born, Amsterdam-based DJ/producer Samuel Andre Madsen, aka S.A.M., stands as a rare talent within the current house landscape. Whether crafting trippy, cosmic and psychedelic late-night excursions, delicate, hazy journeys, or groove-driven, heady cuts, their studio naus and innate musical talent has seen them release via a list of leading labels while heading up their own Delaphine, Dahlia and Oscillat imprints - not to mention their longstanding role as one-third of globally renowned trio Mandar. Returning to Up The Stuss following their stand-out collaborative ‘Get Together’ project with label boss Chris Stussy three years ago, 2024 welcomes a blissful late summer outing with the excellently crafted ‘Check It Out’ EP. From the deep, captivating and hypnotic sonics of the title track to the skippy Tiger Balm’, the bumping grooves of ‘Race To Lose’ and the classy tones of ‘Forever Rhodes’, prepare to be transported across the house realm with yet another faultless EP from one of the best around.

The widely beloved Romanian producer and DJ Barac delivers his new EP ‘Hypnotic Grayscale’ via Yecad this May, comprising three original compositions across the vinyl only release.

Since his debut release over a decade ago, Bucharest, Romania’s Barac has grown to become one of the most prized producers and DJ’s in the microhouse movement coming out of his home turf. A name synonymous with high quality, subtly nuanced and hypnotic grooves tightly woven together to create a sound that’s distinctly his and has found a home on many reputed labels such as Meander, Pressure Traxx, Adam’s Bite and of course his own Shamandrum. Here though, we see Barac joining the roster of Yecad, a fledgling London based imprint that has played host to music from Sepp, Vlad Arapusu, Mihai Pol, Dragutesku and Constratti since its inception in 2023.

The title-track ‘Hypnotic Grayscale’ opens the EP and encapsulates all that is loved about Barac’s productions, delicately unfurling atmospherics, haunting voices and softly reverberated chimes intertwined with airy dub chords and stripped back drums.
Following to open the B-Side is ‘Everything that is seen comes from the unseen’, stripping things back to a rawer, percussive driven state with crisp drums and a bubbling acid- tinged bass line carry the groove while sporadic resonant flutters and vocal murmurs ebb and flow within. ‘He restores my soul’ then rounds out the EP and sees Barac explore his more experimental side, fusing together ghostly synth melodies, echoing chords, spiraling resonant swells and a hypnotic Romanian spoken word vocal.

In 2021, in the midst of COVID, in a desire to continue to share music and stay connected, Gauthier worked to produce collaborations with artists from all over the world, Ottoman Grüw (Canada), Nekro TFFV (Turkey), Lucas Martins (Brazil), Lethal M (Macedonia). The result is four techno tracks both melodic and powerful inhabited by voices that resonate like the whisper of a music that, whatever happens, will never stop to exist.

Never Alone is the testimony that even isolate we continue through the music to be together.

Make The Ting is a project born out of my writing on creativity that lives online as post it style notes known as the ‘Yellow Squares’ found across Instagram and Twitter. The first square was posted on July 31st 2021, as covid-19 restrictions were lifting in the UK and I was thinking about what the music scenes and wider creative communities are after 18 months of lockdown. The idea’s developed into lectures presenting them in real life, but the platform felt right to explore my own creativity more broadly to challenge my own ideas in real time. My history as a DJ, Label Owner and Promoter in the Grime scene wasn’t at the forefront of these ideas, but I wanted to reconnect back to the ecosystem that inspired and gave me a creative career in the first place. Blay Vision’s ‘Cammy Riddim’ in the summer of 2022 inspired an idea to translate the ideas in the squares into song form. I approached Grime MC Jammz about the idea, and the first song ‘Yellow Square’ was done with the core principles that I had written about so far. 6 months passed, and while on a Muay Thai retreat in Thailand in February 2023 I thought about expanding the musical side of the Yellow Squares further. I text Jammz about turning this idea into an album, that we make as quickly as possible using my writing as a guide, and his voice and creativity to turn them into songs. We gave ourselves two weeks, set up a shared notes in iPhone did two zoom meetings, one phone call, exchanged messages on iMessage and he wrote 7 songs in a week, then recorded them all in one day at Ten 87 Studios in Tottenham, London. Jammz wrote all of the songs to one of his own beats, then we selected the final instrumentals we liked that we thought fit the ideas from both our camps the day before recording. The speed forced our hands creatively and it would have been a completely different project if we worked on it for months. Time is the creative director. Albums don’t have to be blockbuster projects with big budgets and huge campaigns behind them. Albums are just collections of ideas. Removing the pressure of trying to make a perfect one meant it got done and released with the least stress possible. Even the business of the album took 5 mins to handle. An equal revenue split on each song between me, Jammz, and the producer. Everyone gets paid quarterly into their own account automatically by our distributor. On announcement of the album in March 2023, we released the acapellas, for people to do their own versions, before most of the original songs had been heard by anyone. We encouraged people to Remix The Ting, and I did custom artwork for everyone that sent me a complete remix before the album came out on the 30th June 2023. The front covers are drawn individually by me. I wanted to make the record an extension of what I do with the yellow squares themselves and capture the energy of where my head is at in 2023. If it’s blank, it’s space for you to draw your own yellow square. Maybe what you think about the album, what it’s inspired for you, or just a snapshot of where your creative brain is at on the day you are picking up this record. This could be the first of many albums, this could be a one off. Nobody knows what is going to happen next. It all may make sense in the end – Elijah

“Valsadeira” is a pulsing uptempo excursion from the African island nation of Cabo Verde, with driving percussion, impassioned vocals, and tasty synth work. Sung in Portuguese, the track begins on a romantic note which builds toward a dramatic flip halfway through that gives way to a hypnotic tropical vamp. The drum tool extends the rhythmic breaks of the song into a useful standalone percussion jam. Odo Kakra Sika Kakra is a bouncy and joyous slice of Ghanaian highlife. With crisp 90s-era production and sweet vocal melodies, JKriv edited this one with love for maximum booty shaking and smiles. "Batonga" is a mid tempo slice of Afrofunk with a mid 1980s downtown NYC feel, led by angular and funky guitars, layered synths, and a female vocal with African chants. The drum break features a textured beat including big electronic drums, percussions and an interlocking kalimba line.

From Chillán, Chile, emerges Marcelo, a genuine talent,
He started in a band, singing and playing bass, now embracing electronic music's element.
His first EP "Got a Pineapple," a very organic and groovy, complete jazzy concept with intricate details, setting the mood smoothly.

"Rolling Out", brings a genuine bass killer, Perfect for the dance floor, a track that delivers thrill and thrillers.

Completing the debut is the legendary Losoul, a Playhouse icon, No introduction needed; his catalog speaks for quality, his talent not gone, minimal touch you can enjoy. Minimal master piece from Gathaspar for second remix very mental like he do always.

Together, they form an excellent combo, continuing our mission,
To print records of quality music, transcending shallow ambition.

For cover the daughters of Carmen Piemonte, Carmen Valbuena Piemponte.