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The Artists Formerly Known As The Connection Machine (Utrecht, Netherlands) go raw and mean on this one! If the underground The Hague-style from the 90s is your thing, this 12" is your cup of tea. 4 hectic 808/303 trax, all mixed in a dirty way, with loadsa fx on the 303.

The Connection Machine/Cray Emoticon is the multi-talented duo of Natasja Hagemeier and Jeroen Brandjes, who debuted on U-TRAX in 1993 with their instant classic and much sought after 'The Dreamtec Album' (catalogue no: 3 UTR UMM 1). They went on to create another epic release called 'The Black Hole EP' on U-TRAX (catalogue no: 5 UTR UMM 2), but not after they presented 'Bitflower', a true work of art on Planet E from Detroit. Later they released the CD album 'Painless' on Down Low Music and in more recent years two 12"s (shared with The Lost Trax) and an album on Tabernacle Records from the UK.

The title track is originally meant as a replacement for the original game music of level 9 of the 2nd episode (E2L9) of the computer game Doom. The artists thought the original score wasn't doing right to the intensity of the game and made their own apocalyptic soundtrack. 'Gnawing The Heart' already proved its usefulness on many a dancefloor, whilst 'Choice Chip' will satisfy the ultimate speed freaks amongst you. If you're not into drugs or mushrooms, 'I Wish My Zapper Was A Gun' can deliver you the same effects: it's a psychedelic space-acid trip, built around a sample of the sitcom 'Neighbours'.

You can't get wrong with this vintage and merciless dance floor material from the mid-nineties.

Original release date: October 1995.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

Acid lovers unite! Techno House Connoisseurs release their 2nd record with 5 tracks that blanket the acid genre offering something for everyone. Acid extraordinaire Acidulant kicks things off with a jacking, stompy monster meant for the warehouse with 808 beats and a crispy 303 throughout.

Jon Lee of Tilted records in Seattle is next up and his production shines with a moody, tech house gem that is sure to get the floor heated with it's warpy and bleeping layers on top of rubbery acid lines. A real treat!

Canada's Jay Tripwire shows why he is at the forefront of the production game with his acid ripper Kneel to Zod. This track oohs and aahs with it's heavy percussive rhythms and psychedelic leanings. A brilliant 303 wobbles throughout the 8 minute workout with dreamy synths and a wicked breakdown. More dance floor magic from Mr. Tripwire.

Label CEO Dave Zam AKA Space Ace revisits his 2019 Acid Odyssey release and reworks the original into a bass heavy punisher. Adding on more percussion and layers of 303 with dramatic deep synths it promises a glimpse of what the label seeks to achieve.

Lastly, LA's Praus brings another cosmic diamond to THC records with Luigi's Illusion. Praus continues to impress with lush layers of atmosphere and rich percussive elements followed by a whopper of a baseline with wiggling acid all throughout. Buckle up.

CMD aka Corina MacDonald is a Montreal-based DJ, producer and host of the program Modular Systems on CKUT 90.3 FM. She has released on JACKTONE, EXPERIMENTAL HOUSEWIFE’S PERFECT LOCATION RECORDS, FUR TRADE RECORDINGS, and BASIC_SOUNDS. For her vinyl debut, she brings us four entrancing, slightly dubby and acidic techno dance floor cuts perfect for the smooth edges of the late night.

The A-side opens up with “Social Factory Reset”, modular jacking techno with an infectious acid swell and patient pads. “Shaping Inner Space” is an apt title. The tempo is slightly faster than A1, and it sounds like an extraterrestrial night out. Euphoric synth twists bring in the break while the bass drum toys with the rhythm only to zap it back home with the force of cosmic gravity.

“Dream-Life Cycles” opens up the B-side tough, with an acid line and bass drum syncopation sure to bring out the stomp. Modular tweets fire off in stereo; pads bring in the harmony; and a nuanced and pleasantly surprising vocal line brings the euphoria on home. “Body Locked” closes the EP with an athletic, cosmic techno track that doesn’t shy away from the trance palette. Step out of your body and onto the dance floor!

Returnal sees Daniel Lopatin fine tune his craft for creation of deep atmospheres and texture even further.
"Returnal" is the fourth album from Daniel Lopatin's Oneohtrix Point Never project, after "Betrayed In The Octagon" (Deception Island, 2007), "Zones Without People" (Arbor, 2009) and "Russian Mind" (No Fun, 2009). All 3 albums being superbly compiled on the "Rifts" double CD (No Fun, 2009). It sees Lopatin fine tune his craft for creation of deep atmospheres and texture even further. Starting off with the mind blowing triptych of "Nil Admiari / Describing Bodies / Stress Waves", which fires off into a noise / rhythm excess before entering a zone of relative calm building to the melancholy of the final part. This sets the tone perfectly for the albums title track, a stunning out of this world ballad featuring Lopatin's near desperate vocal delivery, ending what could be seen as one of his most chilling and thought provoking sides to date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on "Pelham Island Road" and "Where Does Time Go", with the album closing with edgy broken beats and fourth world possible landscapes of "Preyouandi", which fades into the distance with echoes of the "Returnal" chorus, closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip hop or space head music or metal, the ouroboros is present in every sector - as it was in Bach's study, and in the elephant songs of the Ituri forests. Available on CD in digipack and LP in gatefold cover.

Finding a rich seam in stark minimalism, soundsystem pressure and fractalised rhythm, Cassius Select is at the vanguard of contemporary broken beats and punishing low end.

This new Select transmission comes correct on Bruk, prodding at the same bold dance futurism already laid down by Siete Catorce and FFT, whilst sounding nothing like either of them. 'Dread Percent's swelling pads and dislocated MC shards are a foil for the ruff angles of 'Fish Tek'. 'Mess Mutual' teases and stalks at a lower tempo and then twists up another set of bars over a bed of alien drone, laying the groundwork for the massive, grime-licked hooks of 'Shake Like Me'.

Hinting at the anthemic while remaining steadfastly cool and deadly, Cassius Select's mutant brand of club has the space and versatility to slip between scenes, doing damage wherever it lands.

The latest entry from Furanum sees label boss Dominik Muller and repeat contributor Tomohiko Sagae return from remix duties on the label's preceding long play release for a four-track split vinyl treatment of Fu020. On The Other Colours of Poison, acting apart yet seemingly as one, they both dispense with nearly any pretense of an introduction, epilogue, or abstract ambiences, and instead opt for a pure and dancefloor-bound effort of four-to-the-floor industrial relentlessness encapsulated in two compositions to a man.

Sagae notably eschews his signature noise-manifesto driven approach in favour of a compelling centering of groove as a prime determinant of musical force. The results of this approach are on display first in 'Tartrazine,' where a rhythmic mind-worm seemingly burrows it's way in, assimilating and holding the beholder in a frantic dance of oscillatory sway. Likewise, in 'Amaranth' an ineluctable sense of technoid acceleration is achieved, with each of the composition's successive loops driving the sense of propulsive sonic force relentlessly forward,
not unlike the turning of a violent accretion disk tearing matter apart.

As for Muller, he builds on his previous work to construct two reliable aural vehicles for the delivery of unrelenting and thematically oriented vehemence. 'Demut' is like a scene of surrender to an engineered and shifting collosus, overwhelming all attempts at its full apprehension as cogent reverberations puncture the surrounding temporal space. On the flipside, in 'Toxic Environment,' he captures the narratively framed pulse of a phrenetically beating heart, beating on despite all odds through sheer force of will and self-overcoming.

Mastered by Kassian Troyer, The Other Colours of Poison will be available on vinyl

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

Glimmering medieval weaponry forged, polished and brandished, Zhenya Lavrinov arrives to take us back in time and beyond the stars. As LVRIN, he appeared opposite Maoupa Mazzochetti on a split EP for Arma – but one pockmark in a scattering of machine-powered ruminations for respected, proudly underground labels – and now he returns to wield a new alias across five tracks of ominous, night-creeping sonics.



The tracks making up Milky Way were recorded by Bryansk-based Lavrinov between 2013 and 2020, reflecting a side of his musical demanour not betrothed to the demands of the dancefloor. Golden Axe is far from ambient though – this is still resolutely rhythmic music spoken by specifically sculpted synths and powered by purposeful sequencers.



There’s a cosmic theme at play here, but ‘Moon Influence’ speaks as much to ancient rites and man’s obsession with lunar forces as any space-age sci-fi symbolism you might associate with gurgling electronic patterns. ‘Rhythmbox From Space’ may be brimming with analogue freakery, but it’s also locked into a rhythmic mantra which tracks back to the dawn of humanity.



Cementing the philosophy of the record visually, Milky Way comes clothed in a striking artwork by Alina Vinogradova. Lavrinov’s Golden Axe seems to hail from this very space depicted on the cover, speaking through time-honoured tools and revelling in universal mysticism as it opens a new chapter in his darkly seductive, psychosomatic music.

Brownswood Recordings are proud to presentan extension of the ever-evolving world ofSTR4TA, the brainchild of long time friends

and collaborators Gilles Peterson and JeanPaul “Bluey” Maunick. ‘The Invicta Mixtape’is a limited edition cassette format mixed

by Gilles Peterson & Sam Bhok (WorldwideFM/Stay Put). Available on pre-order from November 1st, released on December 3rd 2021

‘The Invicta Mixtape’ features an array of illustrious producers and polymaths unleashing their unique interpretations ofSTR4TA’s standout tracks. With a percussives tripped-back rework of ‘Dance Desire’ by Steve Conry & Takashi Nakazato; a funk-laced ‘Rhythm In Your Mind’ by Ashley Beadle plus Glasgow’s Nuovi Fratelli add a cosmic disco flare in the mix. Dave Lee’s rework of ‘After The Rain’. ‘Vision 9’ is reconceived by Melé’s rhythmic inventiveness & Delfonic’s virtuoso. Also iconic reworks by techno pioneer Dave Aju, the spellbinding Demus Dub& DJ veteran Greg Wilson.

The mixtape honours the importance of Radio Invicta, London’s very first soul station, which was running from the late-60s to ther mid-80s. The B-side contains the complete STR4TA album.

One of the Netherlands most exciting rising names, Utrecht’s Locklead is emerging into the spotlight in style. Known for serving up heavy-hitting stabs of dancefloor driven material across SlapFunk, Pleasure Zone and Dungeon Meat, he now takes things deeper and brings his surging momentum to countryman Chris Stussy’s Up The Stuss imprint for the label’s first album release.

Stepping out into fresh territories, his eight-track debut LP ‘Square One’ showcases a previously unseen side to the Dutchman, revealing a collection of lush, deep journeys coupled with crisp house and vibrant, spacey cuts along the way.

Next up on oge's main imprint is Giorgio Maulini, four cuts for the dancefloor

With endless Afro-latin percussion & drums patterns woven throughout ten tracks of tropical dance floor heaters, Italian multi-instrumentalist and master percussionist, Worldwide FM presenter and director of the Yoruba Soul Orchestra, Gabriele Poso is to release his seventh LP, Tamburo Infinito, via New York record label Wonderwheel Recordings. Recorded in Lecce in the south of Italy and almost entirely on his own (unlike previous productions), the undisputed star of the show is once again the drum and the percussion, the Tamburo Infinito.

Although born in Italy, Gabriele has always looked across the Atlantic for inspirations and rhythms, and this album is no different. This time his sonic adventures took him to the French West Indies and the French Caribbean island like Guadeloupe Martinique, "I'm in love with everything about the sound of their drums, it's very unique warm and deep sound."

The album kicks off with the hot & sticky Ritmo, setting the tone for the record with a kaleidoscope of tropical rhythms and influences. First single La Bola is jammed full of exultant horns and syncopated drum beats carried on the back of a driving, funky bassline. By the time the horns drop in on the aptly named Party People the carnival is in full swing over jubilant percussion and spaced out synths.

Gabriele Poso's musical passion has taken him around the world, initially to Rome, then to Puerto Rico, Cuba, and most recently, Berlin. Between 1998 and 2001, Gabriele delved deep into the study of Afro-Cuban percussion, first at the "Timba" School Of Music in Rome, under the guidance of the most important representative of Afro-Cuban culture in Italy, Roberto "Mamey" Evangelista. Later in 2001, he moved to San Juan, Puerto Rico to attend the "Universidad Interamericana De Puerto Rico" to continue his studies, finally culminating in a masterclass at "Escuela Nacional De Arte" in Havana, Cuba.

2008 saw the release of Poso's debut solo album, From The Genuine World, released on Yoruba Records, Osunlade's label, which sparked a career performing around Europe and the rest of the world. His second solo album, Roots of Soul arrived in 2012 on the German label INFRACom!, his third solo album entitled Invocation in 2014, on the German label Agogo Records with other full length efforts released on renowned British labels, Barely Breaking Even (Awakening - 2018) and Soundway Records (Batik - 2019), culminating in an impressively deep and diverse catalogue of solo work.

Both regulars of the club, arts and queer scenes of New York, Berlin and London of the last three decades, it's surprising Wolfgang Tillmans and Honey Dijon only met five years ago. A walk between clubs in Brooklyn resulted in the two having a mutual interest to collaborate. Busy as both are, the wait was long, but well worth it. This week's release of Honey Dijon's Euphoria Mix of 'Can't Escape into Space' sets the tone for what is left of this summer: Our desire to be together, with friends and strangers, close up on dancefloors, festivals and open airs. Honey's and Wolfgang's shared unapologetic spirit comes alive as Dijon transforms Tillmans's original song into an electrifying dance floor banger. As we can already sense a reawakening of our freedom blowing in the air, even if many clubs remain closed, the two musicians' call to come together again is euphoric and inescapable.
The original version of the song was released last winter in the midst of lockdown, accompanied by a video showing an empty nightclub and its mirror balls performing for the camera, filmed in 2017 by Tillmans, in pre-pandemic Fire Island. A new video accompanies Honey Dijon's Euphoria mix with three vignettes of longing and passion.

52 Beats is project initially started on Bandcamp with Snips uploading 1 beat per week over the course of a year with an accompanying behind the scenes video. This is the final release of the entire project as a limited run cassette. Musically Snips stays true to his Hip Hop roots chopping samples and keeping the sound rooted in traditonal Boom Bap which birthed his style

West Coast mainstay maverick Dave Aju launches his anticipated new label Elbow Grease with this timelessly sublime dance floor trip, dripping with outer space soul and deep ocean floor sonics. "X17", a reference to the hypothetical particle and Fifth Force discovery, is equal parts warm and cold, ruff and smooth, as a raw Detroit Electro-schooled rhythm base plows through various known musical barriers, adorned with worldly percussion hits, moving synth pads, and subtle jazz motifs. The generously unfolding "Main Mix" is accompanied by both a potent "Rhythm Dub" stripped back for maximum impact, and a beatless high "Viiibe" version offering a more immersive listen and alternative options for adventurous DJs to mix as they feel - a fine intro to the Elbow Grease credo.

We used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, we would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact - Méridiens and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet - similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination. The starting point is a sombre night in Uqbar… Chapelier Fou's opening reference to Borgès was obviously not made by chance. He subsequently confided in us the objective of his diptych, namely to combine reality with fiction to question certainties and our relationships with the imaginary sphere. He has continued with his traditional classical-contemporary electronic approach which, although now known to a wide audience, has the advantage of opening up a whole range of possibilities right up to the infinite scale. Moving away from an "État Nain" (Dwarf State) to take refuge on an asteroid...Throughout Méridiens, each composition can be seen as a universe in itself or a specific landscape with its own temporality. Proof of this is the introduction to the chamber music format composed for and performed by only strings which can only be given the date we want to give it. This is "État Nain" in which violins are played like guitars. In some parts we find the spirit of the Penguin Cafe Orchestra and the idea of cheering up classical instruments and not taking everything too seriously. In other parts, we find something close to a mischievous and childish unplugged grunge anthem that could be from the French series Les Shadoks. This mischievous view of things is shown to full effect in Am Scharchtensee. The introduction shows Chapelier Fou's whole classical universe and mastery of orchestration in which "modular" electronics provide a subtle and discreet backdrop. Then, the record suddenly switches to a surrealist dialogue between these classical sounds and modular synthesizers with the flavour of the German pioneers Kluster/Harmonia to name but one example. Timelessness and imaginary places. La vie de cocagne confirms this choice of total freedom. It's traditional music with old sounds, a kind of forgotten bourrée (old French dance) in which electronic sounds disturb the established order and thus reach another musical dimension. Le méridien du Péricarde followed by Désert de Sonora push this idea of a trompe l'oreille and a hall of mirrors even further. The latter track ends almost like a catchy 80s melody and we can no longer find any logical meaning. We let ourselves be carried away by this profusion of madness and are a little amazed by this mastery of sound, composition and space. It sometimes all seems like a succession of conjuring tricks. Chapelier Fou takes not being serious very seriously indeed. The end song Everest trail is the perfect conclusion, a deadpan track in which the primary aspect of a totally classical melody in all its straightness is underpinned by a permanent exchange of electronic tweets which mocks the main musical posture. This impertinence harks back to Pierre Schaeffer who directed the ORTF's very serious experimental department in another era and allowed the development of Jacques Rouxel's series Les Shadoks thus introducing the general public to the notion of concrete music. This is also perhaps why Louis Warynski's stage name is French – because he has opted to use his French musical heritage. Thus the first singles selected from this album, Constantinople with its groovy and jazzy allure and Le Triangle des Bermudes evoke composers like Michel Magne or Michel Colombier both of whom have totally open minds and consider all music to have the same importance, namely that of sound. In absolutely all the tracks that make up Méridiens, you will find at least one detail - a pattern, melody, sometimes a simple sound - that will draw you back to explore it a little more. And the words are carefully weighed for sure. It's quite simple. This is undoubtedly his most hypnotizing and catchy album. Chapelier Fou has become a complete master of his own universe. He draws the start and finish lines himself and no one can follow him in a field that now belongs to him alone. Composed imaginary spheres, illustrated territories...Music is just as meaningful as the more visual arts. Therefore the artwork of Méridiens had to project each of the twelve tracks considered individually and not just the whole album as such. Chapelier Fou therefore asked his old friend the contemporary artist Corentin Grossman to create twelve windows to represent glimpses of the twelve worlds composed for the record. Windows or mirrors when it comes to that? You can never be sure of anything...Space OK. But what about time? The years go by and sometimes we forget that fact. But a simple glance back is often enough to gently touch the time that has passed. It is over 10 years since his first official record and he has been composing, recording and sharing his music for almost 20 years. 20 years is a long time. It makes some people look old while others fall into reassuring but sterile nostalgia. Chapelier Fou, on the other hand, has released his most ambitious project and tried to take a higher view of his discography that was itself nevertheless irreproachable. Although the journey is over we can see Parallèles universes on the horizon. Chapelier Fou has announced 12 additional tracks which are like echoes of the compositions on Méridiens' and will be released on the album Parallèles next spring. They are neither twins nor opposites – they are instead totally original new compositions which go further in exploring a universe which is already richly abundant.

The third release focuses on the worlds we see within.

"IVE" is a wonderful collaboration between a Local sorcerer and Rambadu. During isolation they researched ways to escape reality by traveling inward and explored the connections between our audible and visual perception.

By using the power of our voices we created an Image Visualization Environment that can bring us to many places. "Nue" represents our joy in life, the serene chants help us to cleanse our minds and in "Oiwo" we get lost in space so we can rise back into a world of light.

To support us on this journey we invited Forest On Stasys from Buenos Aires, Argentina for his interpretation. He has worked his magic giving you a warm and groovy feeling while we dance towards freedom.

Even though we live in distant places it is still possible to share and feel each other's energies.

A connection we should never forget exists.

All sleeves are hand-made with love!

Flashes of light rarely burn for long. Bush Tetras exploded into
New York in 1979 and flamed out just a few years later. Yet
somehow this lightning-quick band have risen from their own
ashes again and again for four decades. The spark that ignited
Bush Tetras tapped into a deep grid of power, fuelled by
guitarist Pat Place, singer Cynthia Sley and drummer Dee Pop.
 That chemistry is palpable on ‘Rhythm and Paranoia: The Best
of Bush Tetras’, which features 30 tracks across 2CDs in a 4-
panel digipack / 29 songs across 3LPs pressed onto 180gram
vinyl in a rigid lift-off box with lift ribbon, remastered by Carl
Saff, plus a 40-page (2CD) / 46-page (3LP) book with neverbefore-seen photos, an original essay on the band by Marc
Masters and micro essays by Sonic Youth’s Thurston Moore,
R&B legend Nona Hendryx, The Clash’s Topper Headon and
more.
 From the band’s earliest recordings to their current, vital-asever incarnation, ‘Rhythm and Paranoia’ - for the first time ever
- showcases their unique, influential and body-shaking meld of
rock, punk, funk, reggae and more in one cohesive, immersive
and meticulously constructed box set.
 “Coupled with ‘Too Many Creeps’’ dancey arrangement, Sley’s
monotonous tone signaled that within the Tetras’ newly staked
safe space, misogyny wasn’t a threat: it was just a boring,
predictable damper on the party. Like the rest of their peers, this
band was over it.” - Pitchfork (The History of Feminist Punk in
33 Songs)
 “The Bush Tetras are a national treasure” - VICE
 “Renowned at the dawn of the eighties for pairing the disjoined
guitar skronk of the inaccessible No Wave scene with
irrepressible, funk-infused rhythms, the Bush Tetras were
remarkably influential without ever really receiving their due” -
The New Yorker
 “Bush Tetras bridge the gap between the Ramones and Sonic
Youth.” - NY Post





[e] 5 Cold Turkey [Live in London]










[p] 16 Mr. Lovesong [Alternate Version]













[xd] 30 Run Run Run [Live in San Francisco]

Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion , Guacharaca, Caja, Congas, Electric bass, and vocals.

Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.

The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.

In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.

Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.

Already iconic in London’s underground queer rave scene, Josh Caffe makes a characteristically upfront and disruptive arrival to Phantasy with his debut single for Erol Alkan’s label, ‘According to Jacqueline’. Produced in collaboration with Quinn of Paranoid London, for whom Caffe has previously provided vocals on club favourites such as ‘Vicious Games’ as well as for their rapturous live sets, ‘According to Jacqueline’ fully centres and cements Caffe’s personal vision of club culture as a raw and demanding force.

Loosely chronicling a hi-NRG pursuit across the club, ‘According to Jacqueline’ follows murmurs on the dancefloor concerning one such individual, a “freaky butch queen on the scene, dancing round like a machine.” Outrageous, confrontational and disappearing further into a space between ecstasy and submission, Caffe’s attitude and sound spans Chicago house, vogue culture and the resurgent spirit of his home city’s current LGBTQI+ landscape.

A complimentary dub provides dancers the opportunity to luxuriate in the sensuality of Caffe’s advances, but no matter what side the needle lands on, Jacqueline’s wicked tongue persists in cheek.

Livity Sound is proud to present a 12” of lean, refined club tracks from UK stalwart Beneath. The Mistry and No Symbols boss has spent the past 10 years exploring a sound which nods to the legacy of bleep techno, dubstep and UK funky while leaning forwards into its own distinctive space.

His stripped-back blend of crisp drums, sprightly hooks and sub bass are instantly identifiable, but across four new tracks Beneath displays the versatility within his reach. Stomping four to-the-floor rollers on the A side face-off with minimalist dub and weighty, synth-rich expressions on the flip that move beyond the demands of the dancefloor.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

12" Vinyl with reverse board sleeve

DJ, producer and artist Call Super announces their latest release, the double EP titled ‘Cherry Drops’. This is the third and fourth release to come on can you feel the sun, the label they co-founded with London-based DJ and producer Parris.

The adventurous EP by Call Super, real name Joseph Richmond Seaton, is a collection of tracks written around the time they were working on a larger project called ‘Tell Me I Didn’t Choose This’, which reflects on a period in their life of upheaval, trauma and self-discovery. However, the music on Cherry Drops became a release from that project - a distraction from painful reflections and recollections. Reconnecting with music made solely for the dancefloor became their much needed escape, as it was in those spaces they originally found release and freedom during pivotal periods in their life.

blue vinyl

Subjoi has a long history with Shall Not Fade, an early addition to the Lost Palms series which now hits its 48th release. The Adelaide-based producer had two stunning EPs on the label in 2020, displaying his signature blends of eclectic dance music styles.

Compared to last year's Bias, Steadfast EP is a more understated affair, leaving space for Subjoi's production skill to shine. The title track pairs piano melodies and subtle breakbeat for an emotive sound easing into "Count It Off", where slow pads give way to a beat that takes influence from UK garage and jungle. By coupling this high-energy style with sombre chords, Subjoi makes a uniquely melancholy club track.

Yearning vocals and synth stabs build complexity in "Rapids", a forward late night number. The closing track keeps the
haunting atmosphere of the rest of the records, fading out as subtly as it began with an organic sound palette contrasting the stuttering 2-step beat.

4 Reworked & Reimagined tracks from Motherhood and a cover of Deftone’s “Teenager”. Clear w/ Blue Glitter Colored Cassette Shell, with full pull-out J-Card artwork. Recommended If You Like : Bjork’s Live Box, The Deftones Cate Le Bon. Montreal’s No Joy—since 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluz has rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3’s Pete Kember. In 2020, her first full-length as a soloist and No Joy’s first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity? Now, White-Gluz’s ever-expansive evolution has brought forth Can My Daughter See Me From Heaven, an EP reanimation of five songs from Motherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirth—an opportunity to grow those tracks, similar to the transformation they would’ve undergone live, on stage. “Songs take on a new life when I’m on tour. These songs didn’t get that chance. I still had more to say with them,” White-Gluz explains. “I probably never would’ve been like ‘let’s get a bunch of classically trained players together,’ if it wasn’t for covid-19 canceling tours. This EP was an opportunity to do something that wasn’t obvious. It’s a bedroom recording, but it doesn’t sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid.” Where many musicians used last year’s disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: “It was more, ‘Let’s try everything!’ Give me something to look at!”

Leng Records has long admired Andrew Meecham’s work as the Emperor Machine. Last year, Meecham made his first appearance on the label via a fine remix of Harks & Mudd favourite ‘Susta’. 12 months on, Meecham returns to Leng with his first Emperor Machine outing of 2021, a typically eccentric, heavily electronic dancefloor outing featuring the seductive vocals of rising star Séverine Mouletin. Meecham is one of British dance music’s most experienced and lauded producers, with a packed history stretching right back to the acid house era. He first rose to fame as part of Bizarre Inc and Chicken Lips (both alongside long-term studio partner Dean Meredith), but over the last two decades has devoted far more time to solo work as The Emperor Machine. In the process, he’s developed a sparse, hypnotic, heavily electronic trademark sound that combines analogue and modular synthesizer sounds with nods to post-punk disco, new wave, trippy proto-house and the mind-altering experiments of the Radiophonic Workshop.



‘Dance Par Amour’, his first solo single on Leng, is typical of his now familiar personal sonic style, with echoing, alien-sounding synthesizer motifs (some reminiscent of those that marked out Chicken Lips’ club classic ‘He Not In’), with bubbly sequenced bass, unfussy machine drums, rubbery slap-bass riffs and flashes of post-punk disco guitars.



Sparse but weighty and pleasingly trippy, the EP-leading ‘Extended Vocal Mix’ is classic Emperor Machine: a near ten-minute workout in which Mouletin’s tender but confident vocals rise above Meecham’s stylish and note perfect backing track, which sits somewhere between early ‘80s ‘no wave’ New York disco, lo-fi European synth-pop and the trippy late night dancefloor dubs that were once a feature of American boogie and proto-house records. Meecham further explores his love of these sparse, effects-laden “synth-dubs” on the accompanying ‘Erotique Dub’, a thrillingly heavy, heads-down affair awash with echoing vocal snippets, hypnotic drums and synthesizer flourishes that attractively echo across the sound space. Like the best DJ-focused dubs of the early 1980s, the remix is propelled forwards by a strong bassline, around which other elements – guitar, bass guitar, sparkling synth sounds and mind-mangling electronics – appear, make their mark and then drift off into the ether. With key passages of Mouletin’s vocal appearing periodically to encourage people to dance, it’s the kind of delightfully wayward revision that will keep people dancing well into the early hours.

Legally blind from birth, Brazilian keyboard player, composer and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion) and Roberta Davis (vocals).

Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp and Moog synthesizers (plus a whole load of effects units), makes for an album light years ahead of its time.

The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis' ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus.

A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring 'Jungle Kitten'': a new dancefloor focused variation on "Jungle Cat". At around 140 BPM 'Jungle Kitten' was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the 80s and as a result it has probably become Fest's most well known track since.

HARDCORE UPROAR* over 80 of the freshest Hardcore Anthems from 3 of the biggest brands in the hardcore / hard dance scene written especially for this Brand New Compilation series, going back to the original ‘Bonkers’ style mixed CD format, featuring Uproar Creator, and one of the biggest names in Hardcore History DJ Seduction alongside 24/7’s owner / creator Al Storm, Rob IYF (one of the biggest new talents to come through the Hardcore scene) showcasing the latest 24/7 Hard Dance / Hardcore project ‘Voodoo Panda’ and 2 Rave Legends DJ Stompy & Darren Tyler (Bananaman / Silk Cuts / JHAL etc / Fade & Bananaman etc) join forces with Eazyvibe for a 28 track feast of happiness

Featuring Fresh Dubs from artists such as, Scott Brown, Bang!, Al Storm, Rob IYF, DJ Seduction, Darren Tyler, Alaguan, Chris Fear, Euphony, DJ Stompy, UFO, FREQ-DLT, Eazyvibe, AK47, Fracus & Darwin, M-Project, Daniel Seven, MKN, Hartshorn, EZKill, Bananaman and more.

"One turntable, one microphone, a mek we skank it til a morning!" Taking you back to the roots of sound-system culture: when entertainers rocked the dance until morning, with the most basic equipment. The skill and the vibe were all that mattered. "One turntable, One microphone" captures that essence. Sweet, lilting saxophone licks from Jazz futurist Marcus Joseph (Jazz re:freshed) set the scene for the gathering. Ranking Joe bawls out, "forward rub-a-dub style!" as clean, crisp piano chops out the backbeat. A rock-hard rhythm section drops in to put the bassline in your waistline. As the crowd swells, so too does the energy of the performers, with spaced out echoes creating a lush soundscape for the deejay to ride over joyfully. Ranking Joe is a foundation reggae artist from Kingston Jamaica. His first recording was on Coxsone Dodd's legendary Studio One label in 1974. He has cut hits with Sly and Robbie and Easy Star All Stars, enlivening any production with his fast, intricate and sometimes humorous lyrical flows. This latest release shows the endurance of his musical gift and reactivates the essence of golden-era Jamaican dancehall for modern ears.

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

Written, programmed, recorded and produced throughout 2019/20 by Ed Wynne in ‘Blue Bubble Studios’ by the sea, this exploratory and diverse musical adventure comprises seven new tracks spanning 45 minutes.

Inspired by the Scottish hills, valleys and beaches surrounding his studio, Wynne feels that lockdown in a strange kind of way has provided ‘Space For The Earth’ to breathe for a while and for people to rediscover its resonant healing frequency. ‘This is space music for people from the Earth to enjoy’.

Ozrics’ synth player Silas Neptune and drummer Bal zs Szende join forces again with Wynne on the album which also features special guest appearances from former members synth player Joie Hinton, drummer Nick Van Gelder, flautist Champignon and percussionist Paul Hankin. Psychedelic voyager Gracerooms also contributes additional synth layers.

The album ebbs and flows through blissed-out soundscapes featuring incendiary guitar solos, space grooves and ambient atmospheres. Wynne plays his recently revived Ibanez Jem, a new 8-string guitar, all kinds of synths and bass. Van Gelder uses the original snare he played on the first six cassette albums and early live Ozric performances. One tune features Champignon playing kaval, a traditional wooden Balkan flute.

The album artwork was inspired directly by these seven tracks and realised by arboreal artist Kitty (Twisty-Trees) with help from Ed and cosmic artist Ivy.

One of the most influential bands to emerge from the UK’s festival scene, Ozric Tentacles formed during the solstice at Stonehenge Free Festival 1983 going on to become psychedelic staples at Glastonbury and other festivals. The creative vision of multi-instrumentalist Ed Wynne, the Ozrics’ uniquely trippy soundscapes connect fans of progressive rock, psychedelia and dance music culture.
‘Space For The Earth’ represents the next harmonic step in the unfolding Ozric
journey.

Japan's Dai San returns with his second EP on GAMM and this time he goes on a jazzy escapade with three cuts ranging from Disco-Jazz, Fusion-Funk and deep Rare Grooves.

The A side begins with Sundance, a peak time Jap-Fusion Disco jam sounding like if it was Azymuth's Jazz Carnival twin sister...a definitive dancer for the jazzier crews.
On the flipside, Dai San goes deeper with a fusion-funk edit and a spaced-out jazz-glide.

GLASVEGAS return with their triumphant fourth album ‘Godspeed’, – the music we all need right now. The latest single Shake The Cage (für Theo) sums up the dazzlingly eclectic sound of Godspeed perfectly – this is an electronic barrage with devastatingly powerful spoken word lyrics which call to mind I’m Gonna Get Stabbed from the band’s astonishing debut.

The single is perfectly positioned at the end credits of Alan McGee’ new movie ‘Creation Stories’, written by Irvine Welsh and executively produced by Danny Boyle. Hand picked as the only current track to grace the music mogul’s biopic, it is a kind of


dystopian, free-associative ‘Choose life’ sermon (’Stand on a wave / calculate quantum mechanics / Surf, dance / Believe in chance”) set to the escalating dread and claustrophobia of a John Carpenter murder-chase.

Following critically acclaimed releases with Dance Regular and Rhythm Section (releasing under SAUL with Jack Stephenson-Oliver), London-based producer/DJ Footshooter lands on Astral Black with his full-length debut, the 'Southside Hymns' LP.

'Southside Hymns' is a decadent tribute to the community, club nights and culture of London that Barney Whittaker (Footshooter) is intrinsically a part of. This ethos is embodied in the skippy, broken-beat of the MA.MOYO featuring 'Passing Clouds' (a tribute to the community-ran venue of the same name), whilst the piercing synth stabs and horn laden grooves of 'Juno Café' is a nod to the South East London club space it's named after.

Following the Albertina-featuring single 'Twilight', the EP transitions from a dusk drive through the city - taking in the sights and sounds of Whittaker's favourite foliage-flaunting haunts, to parking the listener firmly on the dance floor with the trunk rattling bass of 'Untether' and the Natty Wylah featuring 'Bloom'.

Through enlisting a guest cast including the likes of vocalists MA.MOYO, Natty Wylah & Albertina, guest instrumentalists and long-term collaborators Wilf Petherbridge, Isobel Risk, Ebyan Rezguli & James Mollison, as well as artwork by Illustrator & NTS resident Anu Ambasna - Footshooter has ensured that 'Southside Hymns' at once embodies the contemporary London music community that it is also a dedication to.

'Southside Hymns' drops October 1st on 12" vinyl & digital DL via Astral Black Records.