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Greyscale's most personal release and perhaps the most important for label owner grad_u aka Aleksandr Martinkevič. Earlier this year, Alex was diagnosed with cancer. Certainly a horrible thing to hear and there has definitely been some low moments in certain stages of the journey. At just 36 years old, many of us are shocked that such a young person can develop cancer. After some research he found out that younger and younger people are randomly getting cancer studies show. An alarming trend to learn about. However, there has also been a lot of other learning and different new levels of appreciation for the simple things in life as a new higher level of inspiration in making music has manifested. And this new release encapsulates that. Alex has also felt a duty to make things better for others. Focusing on what can be improved as he wants to highlight research, treatment and the overall communication of this disease to more people in the electronic music scene. Part of the proceeds from this new album will be donated to the National Cancer Institute in his homeland of Lithuania.
Alex wants everyone to know that catching these signs early and getting regular checkups are your best chance at beating cancer. Thankfully Alex did this also and his treatments have gone well. Alex plans still stay steadfast with his label and his life. Simplifying things with the love from his family and friends, focusing on his hobbies
along with making sure he makes his health his #1 personal priority.
The name for this full length release is titled 'T2NO'. grad_u's most introspective work yet features 8 emotional tracks overall. The honesty expressed in this album is blunt and to the point. These tracks take you on an audio journey thru grad_u as he expresses his feelings thru the entire process in each stage.
Beginning with two wonderful ambient tracks named 'Genetic Mutation' & 'Carcinogen'. In the opener, Chords rain over you as a beautiful ambient melody peeks out underneath it followed by a more stark and hazy field of interference. From the gentle opener to the more tension filled follower, the personal journey of grad_u is
developing before your ears. The b-side of 'Neoplasm' is a bit more somber but also has a ray of light in it.
Introspective as it can get, this is a true journey through an uncertain future. 'MRI scan' needs no explanation....
The second half of the album begins the understanding of what grad_u was going thru. 'Malignant Transformation' gives off that feeling of the human body working thru the science. Fight or flight becomes the theme for this track. 'Adenocarcinoma' almost gives off the sound of cells rebuilding themselves. Sci-fi meets real life in this epic battle. 'Resection' continues this scientific sounding reflection on the body healing with sounds of movement and time. As if the body is working itself out. Lastly and triumphantly comes the closing
track 'Waking up to a New Life'....
The emotional journey of this album isn't for the faint of heart. It leaves nothing to the imagination. It works thru all the emotions that can come with such and life changing event like having cancer. We want to thank grad_u for sharing his story with us. This story can happen to anyone...
"I would like to take this opportunity to express my great gratitude to doctors A. Dulskas, G. Jurevičienė, V. Sidorov and all staff in Abdominal Surgery and Oncology Department at NCI. Thank you for your expert care and for saving my life.
Also, big big thank you my family and closest friends for all their love and support during this difficult period of time and always being there for me."
Special thanks to Lithuanian Council for Culture, associations AGATA and LATGA for support of this special project.
Part of proceeds from the album will be donated to National Cancer Institute, Lithuania

Once in a while a record causes such a wave of excitement, it brings new vitality to dancefloors and generates fresh enthusiasm for the underground scene. ‘Without You’ is one such record, brought to life by the great talents of Art Department, a duo causing deep tremors due to their pioneering use of quivering bass, haunting vocals and fiery kickdrums.

The A side features the vocals of techno’s wonderchild, Seth Troxler, as well as Kenny Glasgow (one half of Art Department), his voice a major element of what makes their records so special. ‘Vampire Night Club’ layers the duo’s trademark synth sounds with an eerie and skin-pinching atmosphere. A truly mesmerizing record that gives the perfect introduction to the Art Dept sound on Crosstown Rebels, pre-empting their debut full length album on the label next year.

The double A and title track ‘Without You’ combines that unforgettable seductive bassline with a lingering vocal call. This record could have been made in the future as much as the past, its simplicity and depth the key to its appeal. Calls for its release have been heard for months and now have been answered with an extended 12” mix.

Art Department is the brainchild of Canadian duo Jonny White and Kenny Glasgow. With musical credentials dating back two decades, together they have constructed their own take on contemporary house music that has caught the attention of some of the leading figures of the current movement. With an album slated on Crosstown Rebels next year, this single is the first in a long line of raw futuristic bullets destined to cause a storm with an international audience.

Mother Tongue keeping the pressure high and unleashing straight away the follow up to the deadly YJ Vol.1.
This second Yellow Jackets double A sider feautures Chicago’s royalty Ron Trent and the extra talented multi instrumentalist Other Lands.

Again one track per side and full powerful cutting to maximize the sound impact in pure YJ philosophy. Ron Trent ‘The Medi’ was actully constructed while riding trains and in hotel rooms through Italy, used as a secret weapon in special occasions…and we can hear why: a mind expanding suite that keeps evolving and going in places and spaces while constantly beating you hard! On the Flipside Other Lands brings things down to more abstract realms with the floating almost Kraut inspired jam ‘Matter’.

A very special release and a hint of what Yellow Jackets has in store for us in the near future…

Exploring hybrid music styles and outernational, borderless musical influences, DJ soFa’s Elsewhere compilation series continues with a sixth instalment, and the second to appear on Kalahari Oyster Cult.

Always ahead of the tide, the Kalahari Oyster is a fine specimen when it comes to the discipline of next-level sound-snooping. Meticulously curated by Belgian sonic globetrotter soFa, Elsewhere XX showcases a dozen outstanding tunes, each dwelling in their own personal space between the imaginary worlds of post-kraut, DIY synth-punk and odd-pop ballads.

Melting these genres with contemporary club music is the mission here. Doused in a thick fog of arcane machine talk, tribal rhythms and cosmic synths, Elsewhere XX is an invitation to escape the hall of LED-backlit mirrors that we’ve so mistakenly come to call our “reality”.

Gathering artists from all corners of the globe – including Radio Hito, Anatolian Weapons, Eylul Deniz, Dame Area and Electronic Body Girl – soFa’s curation lays the groundwork for a unique and thoroughly immersive listening and dancing experience. Through a carefully selected suite of like-minded, yet diverse joints, we run the gamut from distorted funk (“Anita”, “Confiture") and cross-pollinated electroid blueprints (“Walk Away”, “An Abhainn Mhor") to oddball synthpop (“Credo” & Twin Peaks cover "She Can't Die"), reverb-soaked audio safaris (“Fifty Fifty (Anatolian Weapons Dub)") and static-filled postpunk (“Umani”).

soFa's Elsewhere series started in 2017 and this is the sixth compilation to date. Shifting focus with every new instalment, the compilations have previously appeared on labels likes Music For Dreams, Emotional Response and Crevette Records.

black.round.twelve presents the second release on its imprint, signed by the Romanian talent Pîrvu.

Dance Refuge EP’ is a 4-track EP spanning from minimal house to broken beat, showcasing a collection of music drenched in vibrant and sincerely playful energy – a sonic naivety of sorts, very akin to Pîrvu’s own personality.

Both ‘Twelve’ and the title track ‘Dance Refuge’ fill the A-side of this record with a positively warm tone where the groove is king. Razor-sharp drum programming shines through compositions with hints of acid, profoundly accurate sub-basses, and just the right amount of atmosphere, creating a musical spectrum very prone to those floating, early-morning dancefloors. The flipside’s ‘Space’ follows the same groove-led narrative introduced previously and infuses it with an extra dose of playfulness and feel-good sound design before toning it down to the introspective ‘Lver,’ finishing this EP with just the right amount of breaks and warmth.

As usual, the cover of the EP was (undoubtedly) drawn and painted by the talented Berlin-based Juli Jah, beautifully portraying Pîrvu.

Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.

They’d go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squad’s breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.

Here, there’s a sprinkle of drums from Kool & The Gang’s oft-sampled ‘Jungle Boogie’, paired with a very recognisable portion of Eric Clapton’s ‘I Shot the Sheriff’. And that’s pretty much it – the two samples are linked, looped and left to their own devices. Such was Erick and Parrish’s confidence in their own rhyming ability and strong voices, no further embellishment was needed.

That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts – the ‘Jane’ series – and notable guest verses, this was the third straight single of pure brag rap. Two MC’s, one beat, a whole heap of lyrics about how good they were. It’s something you can’t do unless you truly are special, and this duo most certainly were.

Paired with the classic instrumental version, which didn’t make it to the US 7” releases – it’s only on a hard-to-track-down French 7” pressing from 1989 – this this is a timely reminder of how breathtakingly perfect hip-hop can be.

The heat is rising with our 5th instalment coming from the volt of Meister Bert Ashra veteran from Berlin's 90s underground scene and active still in the city with his Mastering & Sound Design Studio and experimental audio production and studies.

The solo project B. Ashra has existed since 1993. B. Ashra is a live act, DJ, composer, sound designer and mastering engineer. The style is pretty cross-genre and ranges from ambient, experimental, soundscapes and trance techno to deep house and electronic jazz.

For his pure techno and house productions he uses the pseudonym Robert Templa and for the extremely experimental music, trash and gabba he calls himself Hackbert.

Furthermore, B. Ashra is active in several music projects and bands, including: Psychotikum, Cosmic Octave Orchestra, 70db, Morphon and Brain Entertainment Laboratory.

The collection is a double LP With a variety of sounds spacing between Ambient and Minimal - Techno vibes with deep bass-lines and layered melodic progressions written with special care to the evolution of the harmonies such to maintain those hypnotic feeling until the structure comes back together and releases a powerful groove.

A rich Album and a landmark in the growing of the label.

Since he started producing music, Berlin-based American sound artist Jake Muir has been obsessed with sampling. His 2018 album "Lady's Mantle" was based on manipulated chunks of vintage Californian surf rock, and its follow-up, 2020's midnight symphony "The Hum Of Your Veiled Voice" was sourced from a wide variety of old records, and inspired by the work of experimental turntablists like Marina Rosenfeld, Janek Schaefer and Philip Jeck.

On "Mana", Muir looks back to a misunderstood musical movement. Around 1995, a group of New York producers and DJs - including DJ Olive, DJ Spooky and Spectre - pioneered a genre-dissolving sound by unifying hip-hop techniques with ideas pulled from dub, jungle, ambient music and industrial noise. Badged "illbient", it was a short-lived genre that felt like a high-minded psychedelic cousin of the UK's trip-hop.

Muir uses illbient as the springboard for "Mana", utilizing a selection of samples to inform his frothy drones and foreboding atmospheres. He ushers the material into 2021 by diverting it through his own contemporary worldview, attempting to recreate the hyperreal fantasy histories of Japanese RPGs (think "Dark Souls" and "Final Fantasy") and nod to sensual, tactile soundscapes of European industrial labels Staalplaat and Soleilmoon. The result is a magickal, sensory journey that's as physical as it is representational.

If the illbient producers were encouraging a burgeoning experimental music landscape to emphasize the tactile feeling of turntablism and sample manipulation, Muir is doing the same with "Mana". Each track heaves and breathes not just with his cultural reference points, but with layered, complicated emotions. We can hear joy, sadness, desire and anguish, obscured by disintegrating noise, hallucinogenic harmonies and sub-aquatic bass. It's electronic music that's rooted not in technology, but in touch.

Following the arrival of their debut album ‘Alterazione’, LF58 (F.Scorcucchi and G.Tillieci) are back on Astral Industries with a special trove of outer-space explorations. Recorded one evening back in April 2019 as a live performance at Rome’s Brancaleone, the eponymously titled album offers a sprawling journey across the pan-dimensional ether. Spread across six sides of vinyl, the performance includes fully improvised material as well as choice selections from Simone Giudice, Jonas Kopp, Nuel, Birds of Prey, Rapoon, Steve Roach and Adham Shaikh. There is no doubt that the unique energy and circumstances of the evening contribute to a certain atmosphere present in the music.

With seemingly no beginning nor end, the session emerges in suspension; an electric ocean of infinite deepness. Gleaming across the patter of galaxies on a wide black backdrop, its myriad vistas are projected like transitioning scenes of an unending story. The gentle tide brings with it specks of cosmic debris and mysterious signals. Soon, quiet drones are overtaken by ripples of solar flare and percussive clamours. Forms melt like liquid, a ball of amorphous plasma pulsating with ecstatic radiance. Prying open universe within universe, ‘Live at Brancaleone’ has a vastness that cannot really be contained.

repressed !

Serious holy grail business on this rare 12-inch extended disco version of Lorraine Johnson - The More I Get, The More I Want on Prelude Records. Original copies of this promo-only cut will set you back £400+ and it doesn’t take a genius to work out why. Produced by Jesse Boyce and Moses Dillard and mixed by Rafael Charres the man behind the mixing desk for classics such as Rare Pleasure - Superfine Feeling and Keith Barrow - Turn Me Up, it’s a dream team cohort that created this Paradise Garage classic.

Backed with equally enthralling, Boyce and Dillard produced, Francois K mixed ‘Feed The Flame’, also loved by the Garage dance floor.

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

A selection of massive tracks on special glow in the dark vinyl to celebrate the 3rd birthday of Moxy Muzik - tracks include a vinyl only mix of Darius Syrossian & George Smeddles ‘Get Toast’ - there is also the PRUNK remix of Darius Syrossian that previously was digital only & spent weeks at number 1 in the minimal deep tech charts on Beatport - the package is completed by a track from Lucas Alexander & also includes the Darius Syrossian remix of More & Manu Gonzalez.

Our vinyl compilation “The Dark Side Of Italo Disco” is a contrast to the numerous happy and danceable Italo Disco titles, because this sampler contains deep, mystical and melancholic songs. Flemming Dalum has selected very special titles distinguished by hard and dark beats. Masterpieces like “Body Heat” by Fokewulf 190, “Eagles In The Night” by Dario Dell’Aere, “Blue Room” by Kirlian Camera show an interesting facet of Italo Disco music.

Diese LP ist für alle Radiorama Fans ein Must-have.
Nachdem wir uns bei der “Greatest Hits & Remixes“ LP
einen Überblick über die Radio Versionen verschafft haben,
gibt es auf Vol. 2 die Extended Versions.
Fast 50 min. Hörgenuss für alle Vinyl-Liebhaber.
Inkl. “Aliens“, “Chance To Desire“ , “Yeti” um nur einige der hier
vertretenen Radiorama Klassiker zu nennen.

Parquet Recordings presents their 19th edition of the PARQUET MOST WANTED EP series. Another masterclass collection of Melodic House & Techno productions by Solee, Marc DePulse & Rafael Cerato and Brascon. Enjoy!

London's SlothBoogie return with the second instalment of their 'Dancing With Friends' series this August, featuring exclusive new music from Kemback, Felipe Gordon, Mak z, Bill Mango, The Revenge and more.

Following the success of the inaugural 'Dancing With Friends', which featured the likes of Kassian, Letherette, Joe Cleen and Ruff Stuff amongst others, the crew are back with that ever so tricky... second album. This sequel however, will not disappoint. The team have scoured the four corners of the globe to provide listeners with a comprehensive follow up that showcases more brand-new music from their favourite producers.

'Dancing With Friends Vol.2' is a deftly curated selection of the diverse styles synonymous with the SlothBoogie sound, ranging from the hazy deepness of cuts by Amy Dabbs, DJ Counselling, Bill Mango, Metropolitan Soul Museum and Kristy Harper to Disco tinged, jazzy, bumpy numbers from the likes of Jesse Bru, T.U.R.F. and Felipe Gordon through to more tripped out acid workouts by The Revenge, Fede Lng & Mojeaux, Togethrs and Pablot.

With this latest collection you can trust SlothBoogie to bring some much-needed dancefloor unity and sun-drenched energy to the world for the summer of 2021. The perfect soundtrack to reconnect and begin dancing with friends once again.

The vinyl format will come as a Gatefold Cover with 2 x 12" cream speckled clear vinyl and will include the full digital album download cards.

“Dance dance otherwise we are lost” is a raw and insightful EP with 5 non-conformist tracks ranging from the hard hitting yet poetic peak time 141bpm Trans TanzTheater to Orbits of Happiness 135bpm an unstoppable rhythmic force carrying the weight of a thousand lives. Woven by an orchestra of synths and their unescapable gravitational force, pulling you in – ever developing, ever growing.

Next up is Incessant Maze 139bpm a projection of the mind itself. A mechanism of transcendence and transformation. A raw and ready psychedelic techno assault to shake your mind out of your body and back into again.

Following the three originals are two very special remixes from Filmmaker and Polanski that bend time and space: a blissfully dark slow tempo remix of “Orbits of Happiness” by London’s experimental techno Producer/DJ/Promoter all-in-all powerhouse Polanski. At 120bpm, the “Is this happiness?” remix has had its question answered already by the sensational feedback received so far: A sultry timeless cut. There’s no way to escape. Not that you would want to, anyway.

Finishing it off, undoubtedly one of the standout artists in 2019 rising star Colombian producer Faunes Efes’ Filmmaker project has released a slew of incredible albums and EP’s this year already. Here he delivers “The Quandary” a wild and psychedelic cut of Incessant Maze merging hypnotic vocals with an ever driving percussive power that is already getting some special support in Europe and South America 130bpm.

Phuture Assassins - ‘Back To The Phuture EP’ - We are going back to the Phuture with this incredible package of exclusive 'Future Sound' mixes which has something for everyone!

The very first release, before there was Suburban Base, was a Boogie Times release which didn't even carry a label name or logo... BOOGIE 001 under the artist name 'Phuture Assassins' became the record that really did start it all. So what is more appropriate than the next release in a continued order of catalogue numbers for the whole new era of Suburban Base than a Phuture Assassins release as SUBBASE 77 to continue your collection.

Leading with the unreleased Dead Dred '95 Dubplate which was considered a 'lost DAT' until it was recently unearthed amongst the archive of masters in Sub Base storage. You can imagine how excited we were to rediscover this and were able to save and remaster it for release. This was intended as part of a remix package that never ended up being released and was only available to a selected few as a Dubplate, that is, until now.

Alongside it we have included the 2 Bad Mice remix, which is now considered not only a classic but it is also the definitive mix of 'Future Sound', for those of you that were looking for a reissue. Its been expertly remastered to superb quality.

You wanted a brand new remix? Mark XTC & Exile's 'Future Sound' 2021 Remix brings the 1992 future to the 2021 present! They have given the timeless Suburban Base classic 'Future Sound' the remix treatment, producing 'raise your lighter' moments in their inimitable style, drum and bass with deep subs, whilst still keeping to the original vibes of this classic.

And completing the package is a version from the legendary Cause4Concern, their remix of Future Sound was only ever promo'd and despite receiving critical acclaim and extensive club play it never saw a full release. Now it's being fully unleashed in beautifully re-mastered form.

This release has it all, unreleased 'lost' mixes, remastered reissues, brand new remixes, beautiful special effect vinyl for the entire pressing run, all wrapped up in one of the most stunning original Nodz artwork sleeves ever created, an Assassin from the Phuture emerging from a time travel wormhole firing Sub Base Bullets!