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• Latin Freestyle was a dizzying, passionate, ultra-modern music. It was the aural equivalent of a can of thirst-quenching Quatro or a Spanish Harlem dance-off, and it became the electronically constructed bridge between disco and house.

• Freestyle grew out of the electro sound of the early 80s, combined clean staccato rhythms with morse code synth hooks, and topped them off with emotive, usually female, frequently Latina vocals. There was plenty more going on besides: proto-house piano lines, Cuban percussion, high emotion and synth hooks to die for.

• Put together and annotated by Bob Stanley (who also compiled the acclaimed “The Daisy Age” and “Fell From The Sun”), “Latin Freestyle” is the first compilation to cover the whole gamut of Freestyle from its early 80s breakthrough to its early 90s revival. So many classics… Lisa Lisa made the UK top ten with the 808 joy of ‘I Wonder If I Take You Home’. Stacey Q’s cosmically great ‘Two Of Hearts’ came out in 1986, while 1987 saw the likes of Company B’s ‘Fascinated’ and Exposé’s ‘Point Of No Return’ become huge UK club hits.

• Today, Freestyle is a scene with a solid collector’s market, and rarities like Janelle’s ‘Don’t Be Shy’ sell for hundreds of dollars. It’s a classic summer soundtrack, finally condensed in one Ace Records compilation – “Latin Freestyle”.

Limited Loser Edition on Mustard Yellow vinyl. In 1988 Mudhoney released their debut 7" single, "Touch Me I'm Sick," and it rapidly became the defining anthem of the Seattle scene that, shortly thereafter, took the world by storm. Punk? Garage? G****e? Who cares when it rips this much! The B side, "Sweet Young Thing Ain't Sweet No More," ain't no slouch, either. Later in 1988, the band followed up with Superfuzz Bigmuff, a six-song EP so overflowing with chaotic rock energy it warped thousands of minds, and inspired countless guitarists to immediately search for the titular fuzz pedals. In the words of Dynamite Hemmorage's Jay Hinman: "My feeling - and I know I'm not alone in this one - is that for all the play and worldwide attention several Seattle-area bands got during the 1988-92 period, at the end of the day (and even at the time), there was Mudhoney - and then there was everybody else. To me, you, and most everyone who was paying close attention to underground rock music during those years, Mudhoney still sound like the undisputed kingpins of roaring, surging, fuzzed-out, punk rock music. These first recordings were so life-affirming upon their release, connecting everything great about the sixties (biker movies, fuzzboxes, old guitars, three-minute songs) with the frothing, punk rock of the early 80s, that a whole new style of music was born. They called it grunge, but to me it was amped-up, clear-the-room, ramalama rock that exploded like Nagasaki live, and it was about as joyous and as fun a noise as anyone'd heard in years." These 2023 colored-vinyl editions of the two releases celebrate the 35th anniversary of Mudhoney's opening salvos, and we couldn't be more excited to have them back in print.

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:

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It’s a wonder where the rivers go and far, how fast or slow.

Just seconds to remember, who can forget, when you are lost.

I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.

Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?

Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three.

After her stand-out record Cathedrals in 2022 and performances across Europe, Australia, Asia, and the Americas, New York hardcore icon Kilbourne is back with more. Holding it down for the genre's most extreme sounds, she has cemented her position as one of the most exciting new voices in hardcore.

Now, Kilbourne revs up the engine for Milkshake, her sophomore PRSPCT release. The title track is a filter-tweaking rager, with bouncing kicks and madness-inducing percussion. Sunshine Terror weds terror and serenity, a fleeting calm in the eye of a hurricane, while Plague Raver pays tribute to an especially unhinged period of nightlife in New York. Ignoring the T-99 Anasthasia stab mania, each track on Milkshake adds new orchestral stabs to the canon, from Verdi's Dies Irae to John Williams' film scores. The EP is rounded out by legendary darkcore producer Catscan's remix of Milkshake, a club-ready anthem that recalls the explosive sound of his early catalog.

With the album "Souvent Fauché Toujours Marteau", Bérurier Noir completed seven years of permanent agitation. More than a title, it's a demand that puts a masterly end to the epic of the herd of rock. The themes dear to Les Bérus blend together in the ultimate uproar: anti-militarism, resistance to drugs, nostalgia for the squats that nurtured a rebellious youth, revolt in the ghetto suburbs, international solidarity... all underlined by a zest of Bérurière madness. The band also experimented with hip hop sounds and surprising, welcome oriental resonances, echoes of folklore from the world zone. However, this album abandons the satirical aspects with which its predecessors were imbued. The tone is no longer one of facetiousness: our two clowns have written their epitaph, and it is resolutely black.

The 1990 debut album from Pale Saints, The Comforts of Madness, is an outstanding record that owed as much to post-punk and L.A."s Paisley Underground scene than it did to shoegaze. The Sunday Times called it "an unintended indie manifesto: music that is at once wayward and concise, dissonant and beautiful." Shortly after its release and in need of a second live guitarist, Lush founding member Meriel Barham joined the Leeds trio of Ian Masters, Graeme Naysmith and Chris Cooper, bringing a new dynamic to the band. Having previously worked well with producer Hugh Jones (Echo & The Bunnyman, Modern English, The Sound), he did a brilliant job recording their second album, In Ribbons (1992), despite some studio tensions. Brooklyn Vegan said in a recent celebration of the album that it was the "push and pull between Masters" outsider tendencies and (the rest"s) commercial interests that makes In Ribbons so good. If some of the wild, ragged edges of Comforts of Madness have been smoothed off, the album makes up for it with scope and beauty. And there"s still no shortage of weird." Missing its original release date last year due to Covid delays and a production plant in meltdown, In Ribbons is finally getting the 30th Anniversary celebration it deserves with a special double LP / CD release - the first disc being the UK version of the album, the second a bonus disc of never before heard demos (including their first attempt at Slapp Happy"s "Blue Flower" and Ian"s 4 track recording of "Kinky Love") and two brass band versions by The Tintwistle Band.

The 1990 debut album from Pale Saints, The Comforts of Madness, is an outstanding record that owed as much to post-punk and L.A."s Paisley Underground scene than it did to shoegaze. The Sunday Times called it "an unintended indie manifesto: music that is at once wayward and concise, dissonant and beautiful." Shortly after its release and in need of a second live guitarist, Lush founding member Meriel Barham joined the Leeds trio of Ian Masters, Graeme Naysmith and Chris Cooper, bringing a new dynamic to the band. Having previously worked well with producer Hugh Jones (Echo & The Bunnyman, Modern English, The Sound), he did a brilliant job recording their second album, In Ribbons (1992), despite some studio tensions. Brooklyn Vegan said in a recent celebration of the album that it was the "push and pull between Masters" outsider tendencies and (the rest"s) commercial interests that makes In Ribbons so good. If some of the wild, ragged edges of Comforts of Madness have been smoothed off, the album makes up for it with scope and beauty. And there"s still no shortage of weird." Missing its original release date last year due to Covid delays and a production plant in meltdown, In Ribbons is finally getting the 30th Anniversary celebration it deserves with a special double LP / CD release - the first disc being the UK version of the album, the second a bonus disc of never before heard demos (including their first attempt at Slapp Happy"s "Blue Flower" and Ian"s 4 track recording of "Kinky Love") and two brass band versions by The Tintwistle Band.

Quartabê’s identity was built upon the metaphor of the classroom: the group sees itself as a school class, which chooses its own teachers from among great masters of Brazilian music. Assuming that the learning and creative processes have in common experimentation and play, the quartet is characterized by its bold versions coupled with irreverent performance.


In addition woto its sound, marked by the group’s various music references - from the São Paulo avant-garde movement to the free improvisation, passing through pop and electronic music - Quartabê also stands out for the formation composed mostly of women who, besides instrumentalists are also arrangers, composers, singers and improvisers - which is unusual in Brazil and it has high political relevance in a music scene where positions of creation and power are still held disproportionately by men. The band started its studies by recording a first album about the work of maestro Moacir Santos, “Lição # 1: Moacir” (2015). After performing this show in Brazil and Europe, the group took a break to record ‘Depê’ (2017), also dedicated to the oeuvre of Santos. In 2018 Quartabê released their third album, starting new studies: “Lição # 2: Dorival”, which was released by the Natura Musical / label RISCO

Moments of eternity: the first plucks at the strings, a bass note cementing the drift into place a little more than a minute in. The organ drones, iterating unrelivable ancient history, a chiming note of the church. Guitars strings, climbing that stairway to heaven. Gossamer-light when viewed from a distance; up close, the gears grind with a visceral physicality. With BCMC, Cooper Crain and Bill MacKay unite to create Foreign Smokes: provocalogues, equal parts avant-garde noir and fire-and-icy jams to recall bright shades and warm stretches of infinity drawn through the buzzy overdrive of this side of life"s strange and sunny days. Cooper"s organ and synths and Bill"s guitar draw songs from spontaneous statements and elegiac scraps, floating closer, then farther, and closer again to the sounds of the other. Starting with a melody, as set of progressions or even as little as a scale or just a key, gives room for either one of "em to take the lead, depending on where they are or are going at any given time. The reigning motif most often seems to be, to melt and wind around each other"s sound, part of a singular undulation, handed back and forth, a slowly emerging trip up into and through an ideal of exuberance.

A warm, loving collection of electropop, ‘I Made an Album’ was recorded and produced entirely by Daði Freyr: every programmed note, every melody, every harmony and every beat has come from him alone in his small studio. “I basically wanted this to be a very true record, to my sound and to what I've been working towards for the past four years”. With themes of reflection and appreciation for both fans and loved ones, the songs in this collection are defined by an innate sense of niceness: there are no tricks or twists, no snark, just genuine good energy. A debut English language record that gives Daði’s dedicated fan base everything they know and love, whilst proving that he's an artist with plenty more to offer. He made an album and it’s going to get you dancing all night.

Madeline Bells is an American soul singer who got her start as a session singer for Dusty Springfield, The Rolling Stones and Donna Summer. Her 1968 album ‘Doin’ Things’ features soothing vocals, exquisite production and encapsulates the soulful sound of the late 60s.

‘Doin’ Things’ is as perfect a representation of American soul as any that exists. First time ever reissued on vinyl. Originals fetch over $100

"Ich Bin Wach" is the brand new release by Schwefelgelb loaded with 4 raw, hard stomping Techno bangers. This sharp and defined production perfectly balances familiar classic tones (909 and the like), heavy percussion and unexpected sonic experiences. Club suited arrangements range from 136 to 140 bpm in a highly effective sound, which wraps references from Industrial to Deep Techno in a unique garment. NPLX005 comes on 140 g colored vinyl including a download code and will be released 6th of October. The digital version contains a bonus remix by Tunegirl.

Formed in the spring of 2020, Los Angeles-based Sacred Skin is the creative duo of Brian DaMert and Brian Tarney. In short order, the pair has shown a nearly unmatched ability to create anthemic pop music steeped in romanticism and melancholy and drenched in layers upon layers of new wave nostalgia. Backed by an impressive string of singles throughout 2021 and into the following year, the band released their highly anticipated full-length debut, The Decline of Pleasure, in May of 2022 to much fanfare. Armed with vintage gear such as the Sequential Circuits Prophet-VS & E-mu Emulator II and buoyed by strong songwriting, expert production work, and DaMert’s emotionally-charged vocals, Sacred Skin has delivered a modern masterpiece of an album that belongs as much to the ‘80s as it does the present day. An album worthy of standing next to the strongest efforts of idols like Duran Duran, INXS, Peter Gabriel, Depeche Mode, and New Order. An album that has captured the hearts of so many already and will no doubt continue to do so for years to come.

Midnight Mannequin Records is proud to present this deluxe reissue of The Decline of Pleasure, pressed for the first time on 2xLP colored vinyl and housed in a gatefold jacket complete with OBI strip. Newly remastered and cut at 45 rpm for exceptional sound quality, this is Decline like you’ve never heard it before. Featuring the bonus tracks Killer’s Mind and a remix of fan favorite Earthbound by fellow synth pop disciples Nuovo Testamento.

"""Down to Earth"" is an album by jazz organist Freddie Roach, released in 1962. This recording offers an irresistible fusion of soul jazz and blues, highlighting Roach's mesmerizing organ sound. With
infectious grooves and captivating solos, the album captivates listeners with its earthy energy and warm atmosphere.

""Down to Earth"" is a must-have for jazz enthusiasts and lovers of organic sounds. 180GRAM VINYL - LIMITED EDITION 1,000 UNITS - ONE TIME PRESSING."

"The Friends of Eddie Coyle" may not be Dave Grusin's best known or most celebrated score but, like both book and film, it's a quiet classic." David Toop


Dave Grusin's cult funky soundtrack for Peter Yates' 1973 superb crime movie, 'The Friends of Eddie Coyle,' was never released at the time. It is finally out 45 years after for RSD 2018 on Wewantsounds, remastered from the original tapes with one bonus alternate take and featuring a new essay by leading UK writer and musician David Toop. Housed in a beautiful gatefold sleeve, the release also features a stunning cover by highly sought-after Alternative Movie Poster illustrator Oliver Barrett.













[m] 13: MR CONNECTION (ALTERNATE) [BONUS TRACK]

Sidney Lumet's masterpiece Serpico released in 1973 is one of the most iconic movies of the 70s. Featuring a career-defining performance by Al Pacino in the title role, it's a superb neo noir encapsulating the post-Watergate mood of the early 70s. The film's soundtrack by Mikis Theodorakis is equally stunning. Composed by Greek musician and arranged by cult jazz pianist Bob James, it is a superb blend of funky instrumental and traditional melodies reminding The Godfather OST.

Following five years of improvised live shows, film scores and jams, Carl Brown and Josh Horsley align to offer a bittersweet record of shimmering noise and textured Fourthworld ambience set within a drenched and darkened, distinctly Northern context.

What began as sample-heavy collage music slowly shifted as the pair crafted new live sets to embrace classical and noise music, always treated with an experimental spirit and minimalist sleight.

Powders stripped back the set up for these album sessions, this time leaning more heavily on the use of granular synthesis with cello as the lead instrument and sound source.

‘Concede to Circumstance’ sees Powders exploring their hometown of Preston and it’s longstanding experimental underbelly - not as a location that demands elsewhere aspiration or an outward face but as a place to din to be.

Sei bereit, die lodernde Kraft von IRON SAVIORs neuestem Album "Firestar" zu spüren. Vollgepackt mit atemberaubenden Gitarrenriffs, kraftvollen Vocals und epischen Melodien hebt dieser Release den charakteristischen Power Metal Sound der Band auf neue Ebenen. Die unerwartete kreative Energie während der Aufnahmen hat zu einer Sammlung von elf herausragenden Songs geführt, die sogar den beeindruckenden Vorgänger übertreffen. Vom atemberaubend schnellen und energievollen Titel-Track hin zu den gefühlvollen Lyrics von "Tough the Fires of Hell" haben IRON SAVIOR ein wahres Meisterwerk geschaffen. Eine wahre Feuerexplosion des puren Metal, die keine Grenzen kennt.

Sei bereit, die lodernde Kraft von IRON SAVIORs neuestem Album "Firestar" zu spüren. Vollgepackt mit atemberaubenden Gitarrenriffs, kraftvollen Vocals und epischen Melodien hebt dieser Release den charakteristischen Power Metal Sound der Band auf neue Ebenen. Die unerwartete kreative Energie während der Aufnahmen hat zu einer Sammlung von elf herausragenden Songs geführt, die sogar den beeindruckenden Vorgänger übertreffen. Vom atemberaubend schnellen und energievollen Titel-Track hin zu den gefühlvollen Lyrics von "Tough the Fires of Hell" haben IRON SAVIOR ein wahres Meisterwerk geschaffen. Eine wahre Feuerexplosion des puren Metal, die keine Grenzen kennt.

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

In a world seemingly gone crazy a bit of good old common sense is as necessary as a simple cup of black coffee.” A random quote out of the ether but one that could define the sound, the style and craftmanship of The Irrational Library. Based on a foundation of groove set forth by Mishal Zeera on the bass guitar and Lars van der Weiden on drums; this sets the locomotive in motion for the guitar and baritone sax of Tom de Haan to build upon. A sonic sound that continues to search in between the lines, to reach where most musician dare not to dwell. A musical landscape so familiar yet fresh and new for these times. And
always waiting and watching, ready to jump that train are the poetic and socially zoomed in words of Joshua Baumgarten.

It's been a few years since Gemmy returned with a release, but he's back in business with a brand new 12 on Infernal Sounds. Entering the imprint on the milestone 30th release, this is a record of pure character and old-school licks that you'd be more than accustomed to if you've listened to the purple-laced producer in previous years. 'Irreversible Culture' kicks things off with a rough and tough low end kick and step, layering that ultimate groove and steppers delight.

Infernal Sounds strip things down and go back to basics with their next endeavor, returning to their roots by releasing a two track single by debutants, Frenchless. Not only is it their first venture on the label, but this is their first ever release under this moniker from the mysterious deadly duo.

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

In a realm where the threads of fate intertwined with the tapestry of existence, there existed a timeless construct we call “MENG”. This transcendental domain pushed a sanctuary where an unholy wisdom was safeguarded. Within its twenty-two walls, the experiences of countless sages and seekers resided, forming a reservoir of enlightenment, of vision and of identity.

Among the enigmatic texts that adorned the shelves of The Memory Palace, one stood out—the "Tubular Heaven," a chapter that held the essence of the universe's patterns and transformations. The book we speak of is the Book of Change - I Ching. Legend has it that the Memory Palace embodied the vibrations of those who sought its wisdom, guiding them to the Slow-Chain’s pages where hexagrams unveiled the secrets of existence.

Amidst this cosmic dance of knowledge, there lived a young wanderer whose name we do not say out loud. Driven by a deep yearning for understanding, this Warrior ventured into the city of Tanoy. With every step, he felt the resonance of centuries long gone, as if the walls whispered to him the essence of reality itself - “you may fall as long as you stand up again. Repeat this 1000 times and you will understand me. Only then can we control the sound.” As he reached for the illuminated Book of Change, a light was cast onto a newly fabricated realm of questions.

One hexagram, in particular, was essential. The cryptic symbolism was perplexing. Upon meditation, we slowly begin to realize that life is indeed a tapestry of imperfections, yet from these glitches we arise with profound growth and transformation.

As our curiosity spikes, we delve into the pages that follow, discovering an unexpected connection between I Ching and the world of Jeans, no denim. In ancient times, the craft of weaving denim mirrored the wisdom of these hexagrams. Just as threads interwove to create a durable fabric, I Ching reveals how life's experiences intertwine to form a meaningful existence. Denim, like life, is sturdy yet adaptable - a true testament to the harmonious balance between falling and standing.

As this journey comes to a gentle end, we must stress that hexagrams prove that other divination systems exist. It has become clear that the patterns hitherto observed are not confined to one culture, tradition, mind or body. Instead, they echo throughout history, manifesting in various divination systems across our globe. Hexagrams are a universal language, transcending boundaries and demonstrating the interconnectedness of humanity's pursuit of higher understanding.

We can now truly emerge from the Memory Palace, carrying the wisdom of everything above us. It’s time to Drag A Friend into this Made Up Reality. Or is it? We now understand that life's glitches are the catalysts for growth and that just as threads wove together to create denim, experiences wove together to create a meaningful existence.
As we walk beneath the open sky, we whisper into the wind, "Hexagrams are the echoes of universal truths, proving that the search for wisdom knows no bounds."

The chimes tingle in the deep subset of your imagination. As the pages of the Book of Change unfurl one last time, the shimmering tapestry of our shallow minds unravels.

We have revealed the kaleidoscopic corridors where perceptions dance in hallucinogenic symphony to the hymns of our rich minds.

2023 Repress

2001, the first year of the 21st century, but especially for many born in the 60's, 70's and 80's, the year that was surrounded with an aura of "the Future" and which became symbol of the new and unknown things that life has in store, the starting year of a new transgression period in both scientific, cultural and spiritual evolution. In that year Transllusion recorded music in the Dimensional Waves Productions studio of which till date two known productions saw a release: "The opening of the Cerebral Gate" and shortly after that the mysterious "L.I.F.E." album on Rephlex. More than 15 years later, an unknown wave resurfaced, washing up an incomparable emotional state of electronic depth. Music from the Future rooted in an underwater Afro-futurist realm and the grandiose cosmological truths. This time rushing over us in a much more personal, reflective and more introspective way, yet leaving behind sonic confusion. We now know who was responsible for all these futuristic recordings perfectly reflecting what the year 2001 stood for, James Stinson can be seen as one of the last few techno musicians from his generation that lived up to the high expectations of moving forward, finding the unknown and embracing the future without reliving the past. This recently discovered DAT-tape, using his Transllusion alias, is the 3rd outing of the project and, surrounded with an even brighter aureole than the previous recordings, confirms the status of its producers mastermind. No further details are known, except for the project name written on the tape, but these intimate moments in the studio tell us what the future sounds like according to James Stinson!

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

Since his career started over three decades ago back in 1981, The Chicago house veteran Boo Williams has been heavily involved in the house music industry, racking up highly strong reputation with his massive discography which includes a wide range of influences.

Hooking up with Mr Green Velvet, aka Curtis Jones’, much celebrated Relief Records in the mid-‘90s, the hard, jackin’ sub-label of Cajual, and later releasing on the tough-as-nails Dutch label Djax, 1996 saw Boo produce his seminal album with the bouncy house of ‘Home Town Chicago’, the first of a series of reissues by Anotherday Records.
Boo has since gone on to record for reputable imprint such as Ovum Recordings, Relief Records and Rush Hour.

For those who have religiously followed Boo over the many years, he continues to deliver as promised, once again bringing the driving beats and textured etherial soundscapes as you'd expect from the master‘. And for those who are just tuning in for the first time, Boo will open up your ears to a new level of sound.

Many things have been said, written and rightfully attributed to DJ and Producer Boo Williams' monumental career: "innovator".
As Boo Williams said: «House music will never die! Love, peace and hair grease».

Label owner, Adrien Calvet, is in charge of the B side. Always trying to push boundaries of raw sounds and electro glitch.

JIN enters autumn with a familiar yet evolving sound. For our eighth release (JIN08), we are delighted to have Tokyo's house wizard, Gonno, make his long-awaited return to JIN with a full EP, after the still talked about JIN01 quintessential remix of Initials B.B.'s "Paradise Patterns".

For this release, Gonno delivers 3 astonishing tracks. A1 features Gonno’s trademark melodic house bomb. B1 is an instantly mind-blowing IDM 2-1-2 floor shaker. Then for B2, he brilliantly closes out the EP with a floating ambient tune.

Rounding out this release on A2 is Gonno's dear friend from Paris, synth specialist Voiski, with a 4/4 remix that takes you on a uniquely classy trip.

In the midst of all saturation and all great music that is been released these days Terrell returns with his first debut album, 7 tracks that can Voyage from House to a new type of "New Wave" of Electronic music, the warming leads and the unusual percussions, conveying Innovation and a new sound aesthetic

Ein außergewöhnliches Album und eine geradezu bewusstseinserweiternde Klang-Erfahrung. Zwei Jahre nach seinem großen Erfolg "Persona" aus 2018 kehrt der Londoner Elektro-Musiker und Produzent Rival Consoles endlich mit dem rundum überzeugenden "Articulation" zurück Das Album entstand als konzeptionelles Experiment, das erforschen will, inwieweit visualisierte Strukturen sich musikalisch umsetzen und hörbar machen lassen. Während des Schreibprozesses zeichnete Ryan Lee West (aka Rival Consoles) also konkrete Formen und Muster von Hand, um zu versuchen dem Entstehungsprozess elektronischer Musik eine haptisch erfahrbare und vom Computer vollständig losgekoppelte Grundstruktur zu geben. Dazu passend wurde der Albumtitel gewählt, der sich auf ein Stück des zeitgenössischen Avantgarde-Komponisten Györgi Ligeti bezieht, weil dieses eine ganz ungewöhnliche grafische Partitur hat. Die Idee, analoge Zeichnungen und Werkzeuge zur Entwicklung digitaler Kreationen zu verwenden, ist deutlich hörbar: Auf "Articulation" beschwören grüblerischen Techno-Nummern, nostalgische Ambient-Meditation, pulsierende Soundscapes traumwandlerische Stimmungen herauf. Die Zeichnung wird zu Klang und Rhythmus und diese zur frei fließenden Energie.

First released over 30 years ago, this EP is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Pulse State” has been described as the ‘best bleep track ever made’, and at the time dominated the airwaves on London pirate stations.

The inaugural release on KMRU's own fledgling OFNOT imprint, 'Dissolution Grip' is an ambitious project that emerged from his studies at Berlin's prestigious UDK. The Kenyan composer and sound artist is best known for his field recording work, and as he traveled across Europe and the wider world for regular live performances, he made a point to snapshot each city. But the more he studied and the more he examined his practice, the more KMRU began to wonder what the purpose of these recordings were, and what bearing they might actually have on his self-expression. Simultaneously, he'd begun to dive more wholeheartedly into the world of synthesis. In a way, synthesis is the most basic form of sound, and KMRU started to wonder not just how he could harness these sounds but how he might be able to more dynamically combine them with field recordings.

Guided by Jasmine Guffond at Berlin's Universität der Künste (better known as UDK), KMRU looked at waveforms - the visual representation of sound itself - and embarked on a process where he would write scores from the shapes, gradually turning the scores into raw synth sounds. Considering the spaces he was inspired by and shuttled through, KMRU decided that instead of using environmental recordings as an aesthetic marker, he would use these captured moments to guide the waveforms. So each sound is birthed from a field recording, but none of those recordings are audible in their original form. For example, on the digital bonus track 'Along A Wall', KMRU recorded in an old shack on his family's compound in Nairobi, where wind was shaking the building to its foundations. Listening to the finished piece, we can hear subtle electronic tones that rub and vibrate against each other, slowly saturating and mimicking the erratic motion of the wind. The original recording has been removed, but the feeling remains.

The album's opening side 'Till Hurricane Bisect' is a 15-minute epic that evolves at its own glacial pace, carefully transforming blustering wind sounds into gasping drones, glassy oscillations and choked distortion. Cosmic and meditative, it's a testament to KMRU's skill as a sound engineer and patience as a composer, combining the gentle world building of his acclaimed Editions Mego album 'Peel' with the rumbling energy of 'Limen', last year's collaboration with Aho Ssan. On the title track, KMRU takes the opportunity to flex his orchestral muscle, conducting a cast of warbling synth tones into a durational symphony. Starting as quietly as a whisper, 'Dissolution Grip' expands at its own pace until it's a dense wall of harmony, powerful but never completely overwhelming. It's music embedded with a rich sense of place that informs us of KMRU's past and present, and signals where his musical philosophy might take us in the future.

Banoffee Pies White Label Series is back with a debut EP on the mother imprint from Bristol based Artist, DJ & Talent, No Nation. A deeply attuned junglist delivers a love sick transmission with four gripping, jazzy and skeletal rave compositions following their recent single “Gad Damn”.

Rooted in the sounds of Jazz, Progressive Rock and Fusion, No Nation quickly cemented themselves within Soul, RnB & Old School Hip Hop scenes early on before finding space to express these inspirations through their passion for high tempo hybrids. Now an established Bristol artist and label main stay with international bookings worldwide.

As a producer their music is something to be savoured. Drawing inspiration from music from output on Inperspective and Scientific Wax labels while combining a dynamic and diverse fusion of soulful sounds. Chopped breaks and samples sure to leave a lasting impression. No Nation has featured on labels Club Paint edit series, Bristol-based outfit Slippery Sounds, London leftfield label Diffrent Music and most recently Sherelle's new imprint BEAUTIFUL music.

Félicia Atkinson: »Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe)« (2021)

Félicia Atkinson’s Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit one’s creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O’ Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Félicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Félicia Atkinson’s music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, it’s a singular way of approaching the world and, in so doing, densifying it.

Richard Chartier: »Recurrence.Expansion« (2020)

Richard Chartier’s music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartier’s music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartier’s music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.

2026 Repress

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.