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On his new single "Pacifico Waves", Joel Sarakula takes the scenic route down a pacific coastline, searching for peace, enlightenment and the perfect sunset.

Travelling and searching is nothing new to Sarakula: it's almost his default way of being. Born and raised in Sydney, Australia before swapping oceans to live in the UK and more recently onwards to Gran Canaria: "I've been busy making my islands smaller" he jokes. But the music on "Pacifico Waves" sounds like none of these places: with its easy drum shuffle, soulful guitar hooks and smooth vocal harmonies it distinctly evokes Southern California. It's such a potent portrait of the West Coast that if not for the contemporary lyrics and some modern production techniques, it could be a long lost hit from an early 80s LA studio band.

"Pacifico Waves" is ultimately about memory, fantasy and the powerful emotion of reminiscing when Sarakula sings 'The sound of the ocean gets me so high, helps me remember what I left behind'.

2023 Repress

Outstanding Italo classic from The Countach project, covering Carlos Santana's "Aqua Marine" song and fitting them successfully into that typical italian ambient style and late eighties house formula. Did anyone say balearic
Here you can finally find in the flip side the original studio version instead of the unnecessary radio cut.

Ever amazed by the external world and its natural surroundings, Belgian producer Dijf Sanders has a habit of turning himself towards the unknown for inspiration. After praised albums based on field trips to Indonesia (Java, 2017) and Nepal (Puja, 2020) he found himself challenged by the traditional chants from Georgia. Diving deep into its sounds, people and heritage with open eyes and ears, he traveled to the Eurasian land in the South Caucasus in 2022. The field recordings and impressions of this journey make the blueprint for new, meticulously crafted compositions that ripened in his studio and transcend its original source material in time and space.

SUPRA offers nine diverse explorations ranging from spaced-out folk, ethereal trance, ambient with a melodic sense of drama and lush electronica channeling 90's IDM energy fields. Bound by dynamic depth in sound design, this is electronic music with a heavy heart - for all tracks share a primal sense of nostalgia in which traditional music from the Georgian motherland baths. From a pastoral love song about a buffalo (Mingrelian Song) or a ceremonial wedding hymn (What You Give Away Is Yours, What You Don't Is Lost) to a lullaby (Bird's Milk)... Georgia is a land of contemplative singing and its music scene today is still dominated by modal vocalists and harmonic choirs with pride.

With the help and recording equipment of the Folklore State Centre (Tbilisi) and in collaboration with Europalia Georgia festival, Dijf Sanders found contemporary choirs willing to lend their voices for this project. Next to these voice samples, the Georgian countryside and nature delivered source material for more samples and textures as well. The name of the record refers to the traditional Georgian feast where a large table filled with food, drinks and singing.

Thomass Jackson presents UFO HOUSE.

A fixture in Mexico's thriving electronic scene, the Argentinian import has made a name for himself alongside cohort Iñigo Vontier with a style that seamlessly blends haunted desert disco with gritty acid house and techno.

This EP might be his most cogent formulation yet, a mightily playable set of peak-time DJ-friendly tracks that bring enough mystery and wonkiness to a perfectly club-ready backbone. It's a conspiracy of sound, a cosmic abduction with pulsating rhythms and hypnotic bleeps sure to melt minds on the dance-floor.


DJ Feedback:

Tiefschwarz - "soooo gooood!!"

Roe Deers - "dope EP"

Matt FX - "an absolute tour de force EP. hard to pick a favorite, maybe guadalajara"

Justin Strauss - "great ep"

Kiki - "Cool trax!"

Mawimbi - "really like the acid touch in back in guadalajara"

Jerry Bouthier - "well put together madness yay!"

Phil smart - "Solid bunch of tracks, all great! Can't wait to test out on a dancefloor:)"

Vidis - "Cool stuff as per usual from señor Thomass. Young Woman in Kashmir and Back in Guadalajara are the faves."

Phred Noir - "Alll the tracks are so good, super happy to see Thomass back with sooo good tracks !"

Genish - "Back in Guadalajara for me ! fire"

Ayala (It) - "I'm a Thomas fan from years and years"

Kato - "mad fun”

Fabio Me Llaman Soltero - "Sublime work, always favorito Thomaaaaaazzzz"

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Originally released in 2018 on Undisputed Records, "The One Love Family" is Skarra Mucci's 7th studio album. For this featuring album where one or more guests appear on each track, the artist invited a cast of choice with guests from various backgrounds such as the heavyweights of French Reggae from Dub Inc or the Jamaican stars of yesterday and today such as Ken Boothe, King Kong or Chezidek… This album is a hymn to sharing in which we find the many facets of the Dancehall President.

Ukrainian Muscut & Estonian Mida team up for “Воля x Rahu” compilation (Ukr: Volition x Est: Peace) with 100% of label profits donated to “Livyj Bereh” – a volunteer group based in Kyiv & working in regions affected by the war.

The A–side is curated by Muscut & holds only Ukrainian artists: Kavkazka Sound, Radiant Futur, Mlin Patz, Iury Lech & Ihor Okuniev. The B–side by Mida has Portuguese trio Niagara stuck in between Estonians Maarja Nuut, Rotrum, Luurel Varas & Terry Long Hermy.

Atmospheric & mellow selections on both sides, with a couple allowed left turns here & there.

2lanes is proud to announce the next single, TINCTURE/ MY SIMULACRA, from his recently minted label AUTO SHOP. The two-tracker finds the artist both deepening his expansive sound and honing it to weave seamlessly into any DJ set. “TINCTURE / MY SIMULACRA” solidifies the cinematic textures and rusty low-end percussive drive of 2lanes’ earlier releases this year, “Diamond Rain EP'' & “Sid Ranger Redux EP.” Spending much of this past year on the road, 2lanes dove headfirst into the contemporary electronic music world, meeting an array of new and exciting producers, some of which are featured remixers on this release.

On the A side, take a dose of TINCTURE and see just how far the rabbit hole goes. Inspired by raving all night with friends, 2lanes linked with Detroit-based singer AKILLACO for a wild talking track like none other. We all know those moments at the party when both nothing and everything makes sense. You want to be prophetic but you just make everyone laugh. You think about the past, future, & present all at once. This is the ultimate message of TINCTURE, which AKILLACO emphatically points out. The long-winded musing is underlined by a heavy swung style beat that 2lanes fans have come to know well. Frequent 2lanes collaborator Salar Ansari joins the fun for the steamy, guitar-laden Howling Diablo remix that could as easily be played at a forest rave as a sleazy dive bar a la Coyote Ugly. Purelink’s MILLIA reduces the solution to an even dubbier chill out mix that begs to be played in the early mornings.

On the B side, we have the bass-heavy vision quest MY SIMULACRA. Ancient percussion meets modern sub bass–and together, they transport you to a new plane of being. This track also features performances from a few regular 2lanes sonic cohorts. Detroit keyboard prodigy Ian Fink (Scott Grooves Ensemble, Omar S) evokes celestial moments with a memotron solo, and Jonah Baseball (Overtone Series) provides a stargate-sounding break beat. MY SIMULACRA features two amazing remixes. The First is from Baltimore-based club aficionado JIALING and the second is a prime cut of rough and ready machine phunk from Los Angele’s 1morning.

Initially recorded at 2lanes’ home studio over Halloween in 2021, TINCTURE has since evolved to its final form that we see now. The tune has even shown up in sets from electric selectors like Scott Zacharias and Livwutang. The record label features beautiful artistic renditions by Norway-based Sverre Brand, whose work can be found on releases by Priori and Dust E-1.

London's Silverlining returns to his solo-only home, Silverlining Dubs, for this two-tracker that sees him exploring previously unexplored sonic territories for him. This is the first original release to be produced and mixed in Silverlining’s new Cabin Studio in South London. We'll spare you the list of names but this has had early support from some of the industry's finest!

Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.

When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.

While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.

Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.

“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”

Next up on Toolroom’s 4-track vinyl sampler series is 4 killer cuts from our latest repertoire.

Kicking off with another straight up, dance floor weapon, Essel lands back on the label with brand-new single, ‘Sweat’. Her toughest sounding record to date that captures the post-rave moment, cementing herself as one of the hottest new talents to emerge in the electronic music scene.

Next up, Parisian born and US based tech house producer Shiba San debuts on Toolroom with a seriously wonky affair alongside studio buddy, Ayarez, aptly titled ‘Twist It’.

Up next on the sampler, is the return of longstanding label favourite Friend Within with his rolling tech house banger ‘Pilka’. Having landed 2 of the hottest tracks on Toolroom last year with ‘Monkey Bars’ and ‘Bring It Down’ which saw sweeping support flood in from across the scene, including Paul Woolford (Special Request) Salute, LF System, Dom Dolla and many more, friend within is officially back for 2023!

Completing the EP, we welcome sola regulars and one of the freshest, most exciting dance music duos to come out of the UK in recent years, Maur who lock horns with chart topping US based Westend, for a label debut set to become 2023’s festival anthem - ‘Over’.


DJ support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, Dj Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Kc Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, Tcts, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Youcef Debbihi continues to impress and surprise after already his 3rd volume as Sea of Disillusions. This 4 tracker extends what was already started and established in the previous volumes, expanding his studio excellence into more break beat oriented directions, either at high speed in the form of almost Drum'n'Bass with "K2" or slowed down as a more trip-hop tempo with "Break Whale".

B-side slows down to upper 90BPM range of driving rhythm under atmospheric dubby hints of humidity "5deF", and, finalizing with a beatless Ambient mix of "Loon River" which sounds like the slow motion intro to an epic trance anthem that never fully takes off, setting the stage for something heavy to be mixed in. Essential for any reasonable DJ record bag.

Mickey Nox is back with his latest original EP 'Strictly Commercial'.
Four new hammers all hand made by his Ghost Producer (Read credits). After testing 'Lines' successfully on his 2022 tour. It then kicked off the rest of the production once he returned back in the studio. Techno Tourist. A piss take done well that will blow the doors off. Slammer and Corruption & Lust come in more typical Nox Fashion. Still No fillers though. Own it on marble pink wax. #f*&kinghammers only

A true work of art - opening things up in epic fashion with the lucid dreamscape.
Another adventure for Maximilian, another expertly curated EP touches down courtesy of EVIDEON Studio records.
Somehow, the world keeps turning and with it the MIKROKOSMOS universe keeps.

PIV serves up the fourth edition of their highly sought-after Amsterdam Dance Event Sampler - collecting tracks from fresh new talent, as well as artists that have been affiliated with the label since the very beginning. 15 tracks, in total, with eight of them appearing on this vinyl edition, that will be sold in Amsterdam during the PIV events and in all good record stores.

Showcasing the true sound of PIV, this is a must-have package of dancefloor weapons.

DJ support:
Chris Stussy, Enzo Siragusa, Sidney Charles, Fabe, Lauren Lo Sung, Hector Couto, Artmann, M-High, Prunk, Darius Syrossian, George Smeddles, Kellie Allen, Dennis Quin, DeMarzo, Archie Hamilton, and more.

The first official compilation of DISCO STUPENDA, the party that brings back hidden masterpieces of Italian music to the dancefloor and that is sweeping the entire Italy and beyond, is finally coming out in vinyl, its most appropriate format.

The selection is by TOMMIBOY, resident DJ and founder of Italy’s most Italian party… everyone dances!

The 8 killer Disco Funk tracks tested on the most disparate dancefloors – from clubs in London, Berlin, Copenhagen, New York, Istanbul, Tunis, etc. to the Italian beach – are extremely rare gems that are hard to find even on the collector’s market.

This is the second time out for the Wormholes on AllChival following on from their You Never See the Stars When it Rains anthology release. This one is a previously unreleased album recorded in a concise burst of seven nights in Dublin’s Sun Studios in the spring of 1996. It was originally envisaged as being The Wormholes’ second album, the follow up to their 1994 debut Chicks Dig Scars. Unfortunately the end result of the sessions - Parijuana - would not only be ignored by their label of the time (Roadrunner Records) - but would also just as quickly be dismissed by the band themselves.

Eamonn Crudden, the manager of the band, had manged to extract some money from Roadrunner to record demos of new tracks as soon as the release cycle for their debut was over. The budget was so tight that it covered studio time but was not even enough to buy the master tapes. With things going south with the label – a classic 90’s tale of the A&R man who championed their cause heading off elsewhere the minute they signed - the intention was to go in and aim to record an album rather than demos - with the intention of releasing it on another independent label to keep the momentum around the band going.

However by this stage the Wormholes were totally wrapped up in listening to Can, Faust and generally exploring music based on casual recording, improvisations and extemporization. For them the album was too ‘rock’ and – having been dropped by Roadrunner - they no longer felt under any obligation to release it. To them it was time for a fresh start. Their next recordings would not be ‘for’ anyone but themselves. Today bassist Anto Carroll admits that “at times we were our own worst enemies” and with the benefit of hindsight both he and guitarist Graham Blackmore wish they had gone ahead and released this album at the time. However, back then, they thought they could do better and they did go on to make inventive and unique sounding versions of some of these songs with Stan Erraught producing just a short time later. These recordings were eventually released by Dead Elvis in 1999 - along with a couple of ‘adjusted’ tracks from the Sun Studios sessions - on Parijuana: 4 Years in Captivity.

It’s highly unlikely that listeners today will share the band’s view that the abum was too ‘clean’. This version of Parijuana is dirty, raw, messy with plenty of experimentation and extemporisation. The songwriting is as strong as that on their Chicks Dig Scars debut. The music is played with a new confidence and swagger, very much the sound of a band rooted in a wave of US ‘lo-fi’ finding their own sound. It’s the missing link between their conventional Pavement/Sebadoh influenced debut to the more drawn out, free roaming and extemporised second album proper Scorpio The Album.

‘Apathy Is Death’ is a precisely engineered, restless and longing work of experimental bass music. Tinkah has created a sonic landscape that is both mesmerising and haunting.

The fundamental note is tension as he speaks a tale of ego and its myriad manifestations.. highs & lows. Climax & anticlimax. Adoration & pity. A 12” quest through the taverns of retrospect.

The 6 tracks, live arranged on a MPC alongside a whimsical bounty of synths & effects, are packed rich with cinematic soundscapes, driving rhythms and an ever evolving temper.

Inspired by true events and adorned with sounds from his world. ‘Apathy Is Death’ tells the parable of being jointly lost and found in the intensity of life.







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Re-release of TS008 (Top Secret/Test Series) by The Conservatives (I-f & Intergalactic gary) from 2003, with the live version as a bonus on the b-side.

At the helm of a collective immersed in London’s underground house landscape, Bizarre Traxx co-founder Jhobei is keeping things moving in his own unique way, shaping and crafting a sound to call his own. Releasing on labels like Mindhelment, Picnic and Mood Waves while stepping out as 1/3 of trio Felon5, he marries warping and heady territories with loose, spacey spheres, creating immersive trips for all hours of the night. Here he delves deeper once more, landing on Up The Stuss for the first time with his playfully titled ‘Slink ‘N Slide’ EP.

The title cut launches straight into the action and showcases his sound perfectly, harnessing squiggly synths, driving low-end grooves and sweeping astral sonics to unveil a cosmic ride through rich textures. Expect the same depth and unpredictable twists and turns across the EP as he draws for influences spanning those early golden years of tech house through to minimal and hazy late-night electronic realms. As debuts go, this one is stacked with treats and musical goodness from top to bottom - no surprise they’ve been go-to cuts for those deeper moments from the label boss!

South London Soul Band Trambeat, influenced by the floor shaking sound of 1960's Motor City. With brand new single, "Don't Hold Back"

Trambeat were formed in 2012 by guitarist Graham Potter and drummer Des" Jammy" James. Graham and Des had played together in several bands previously and already had a good musical understanding. Trambeat's manifesto; to write original songs influenced by a love of Northern Soul, Motown, Rocksteady and RnB. But also to look forward and include elements of more contemporary genres. Bass player Nipper Smith, Saxophonists Robin Ogleby and Nadia Barbosa, and organist Emer O'Hanlon were recruited to form the core band and Trambeat set about recording and gigging with various vocalists until, in 2016, Aimee Grinter became Trambeat's permanent lead singer.

Written by Graham Potter and Des James, "Don't Hold Back" is in some ways a comeback single for Trambeat. The pandemic years took their toll on many bands and Trambeat in particular, with the loss of founding member Robin Ogleby being a very hard blow. Following a tribute single in 2021 to raise money for Robin's charities, and a couple of festival gigs in the summer of 2022, theyndidn't have much appetite for writing new material, and were unsure whether to continue as a band without Robin. It was during a jam between Graham and Des in late 2022 that the bones of "Don't Hold Back" came together. The drums and rhythm guitar clicked into an infectious dance groove with echoes of vintage Motown. The band members came together in the studio with renewed enthusiasm and laid down the track in just a day. The band, who remained close,even during this hiatus, realised how great it was to be back in the studio together again. Graham's lyrics, as well as the euphoric feel of the track, reflected this new optimism within the band. "Don't Hold Back" is a celebration of life, of deep friendships and most of all, of love!

Plays on Gary Crowley's show on BBC London.

Regularly played by Button Down Radio, Heavy Soul (Cambridge), The Influential Factor show on Solid Front Radio (album of the week for TTN), Mod Radio UK (various shows), The Edward B'stard Radio Show, several stations in Germany and Edge Radio and couple of others in Australia

The latest by New York-based producer Lamin Fofana further refines his cinematic dialect of fractured soundscapes, displaced rhythms, and tectonic unease. Unsettling scores aptly describes itself: grainy, bristling, and bruised, rippling with dread disguised as grandeur. The collection emerged from an extended reworking of his 2016 composition, “A Symbol of the Withdrawn God,” mining deeper into the piece’s “unvoiced fragments, shards, and utterances.” Other tracks were inspired by recent readings on climate emergency and its “specific implications for Black life, from hurricanes in the Caribbean to mudslides in West Africa.”

Fofana has spoken of his music as part of a “legacy of resistance,” spanning the roots of Detroit techno to the outer reaches of contemporary sound art as championed by his labels, Sci-Fi & Fantasy and Black Studies. His work here vividly embodies that spirit, seven hyper-textural transmissions of rumbling lament, shifting sands, and restless innovation, tracing jagged silhouettes of indeterminate futures: “The instability is worldwide.”

ZentaSkai unveils stunning, high-concept house album on Mask Records.


ZentaSkai undertook a period of research into the underlying structure and organisation of the human brain before writing ‘The Architecture Of The Mind’. The Berlin-based artist then took what had been learned and kept it in mind when writing the music that marks Mask's first album release. It comes with extensive background notes on each track, and an operational manual of sorts - notes from the artists as to the effects each piece will have on those who hear them.
"The message conveyed by this album is that life itself is filled with music, but our egos often prevent us from being in harmony with this symphony. Inner chaos and silence can be challenging to bear, leading us to seek solace in external noise. We have constructed a barrier between our inner and outer worlds, causing us to lose touch with the rhythm of harmony. However, by embracing the illusion of separation and dancing to good music, we can rediscover harmony with ourselves and our environment. To fully experience the essence of the album, it should be played loudly on a proper sound system or high-quality headphones. By immersing themselves in the music, individuals can engage with its transformative power and potentially find a deeper connection with their own minds and surroundings." - ZentaSkai.

The gorgeous 'Mind Mapping' opens up with deep and dubby drums and lush harmonies that soothe you to your core, '030' then has more raw, heavy drums with many layers of glowing synths, glassy melodies and organic found sounds. 'Fügung' keeps the deep and introspective moods coming before the crisp tech of 'Flow Dreaming' ups the ante with more drive and layers of vocal whispers, hi-hats and smeared dub chords.


Elsewhere the likes of 'Quiet Reflection' lean into the groove with swirling pads and one-word vocal sounds drifting through the air over propulsive drum loops, and 'Boiling Range' suspends you in deft synth loops amongst the stars over a prickly house beat.
The superb synth craft and well-designed grooves continue through the dusty deep house of 'Karl-Marx-Allee' and minimal dub of 'Dynamic System' before the elegant melodic techno of 'Apeiron' and dreamy synthscapes of 'Parallel 30' close the album in a reflective fashion.


This is a deeply evocative album with a fully realised concept that is as thought-provoking as it is immersive.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

John Ghost (Ghent, Belgium) is the sextet led by guitarist/composer Jo De Geest. As a group, they draw influences from jazz, rock, and contemporary classical music. Minimalism, electronics, and an overall cinematic quality characterize their instrumental sound. The ensemble's sound can be described as a symbiosis of Hidden Orchestra, Portico Quartet, and James Holden.



After the critically acclaimed “Airships Are Organisms” (4-star reviews in The Guardian and Financial Times, as well as airplay on BBC 6 and Worldwide FM) John Ghost is back with “Thin Air . Mirror Land”, to be released on October 6 via Sdban Ultra, the label of ECHT!, Black Flower, Glass Museum, STUFF. and more.



For this album, they continued their fruitful collaboration with legendary producer Jørgen Træen, known for his work with Jaga Jazzist, Electric Eye, Kaizers Orchestra, and numerous projects on the Hubro Record Label. The result is an album with a slightly more somber tone, focussing on a broader range of instruments and an emphasis on percussive elements."Thin Air . Mirror Land" unfolds as an aesthetic refuge in stormy times. It is a musical urge for introspection in a chaotic reality, and a longing to reconnect with a natural environment.



During the creative process, Jo drew inspiration from the music of artists such as Hans Zimmer, György Ligeti, Magma, The Residents, Disasterpeace, James Holden & The Animal Spirits, Do Make Say Think, William Basinski, and Jóhann Jóhannsson. The album title "Thin Air . Mirror Land" and the song titles are driven by a fascination with the artwork of Edvard Munch. Jo found inspiration in Munch's painting "The Storm" (1893) as a catalyst for the writing process, exploring a dystopian backdrop and the intriguing interplay between comfort and unrest. Heavily inspired by the music, Jaak De Digitale created the gloomy artwork for the album.



Members of the band are Jo De Geest (Endlingr), Rob Banken (Rapidman, HAST), Wim Segers (Compro Oro, PAARD.), Karel Ceulenaere (Black Flower), Lieven Van Pée (Echoes of Zoo, De Beren Gieren) and Elias Devoldere (Nordmann, Elias) who went through a thoughtful studio process, with the result being a conceptual and slightly dystopian atmosphere.

Kenn-Eerik is an Estonian versatile sound artist and musician working in Tallinn. His passion for music began in early childhood when he witnessed accordion playing as a six-year-old boy. Encouraged by this musical experience, he learned various instruments over the years, engaged in choir singing, and participated in the activities of several bands. Even today, he is part of a band called Käsi which was created with friends from teenage times.

Kenn-Eerik became interested in electronic music during high school when he composed the first songs – inspired by dubstep and dub. Wanting to cultivate his technical music skills, he went to study sound technology at the Viljandi Academy of Culture. Along with his studies in Viljandi, he acquired his first drum machines and synthesizers, which, in addition to his personal creative activities, were also used to compose music for dance performances.

While his first DJ sets consisted mainly of dubstep, with minor detours into the areas of techno and house, by now this relationship has become the opposite – techno and house beats have become more concrete and present, but the influences of dub and dubstep are still there.

Over the years, Kenn-Eerik has played in several Tallinn clubs such as Ulme, Ups, Asum, Uni, Hall, etc. His live debut took place at the festival Kuru Plirr (2015). In addition to DJ and live sets, cooperation with several theaters operating in Estonia has deepened over time, where he has composed soundscapes based on original music.

Kenn-Eerik’s music can be characterized as a search for a certain state. His sound language is centered on organically flowing synth lines and minimalistic rhythms, which combine the deeper areas of techno, house, ambient and experimental music. Kenn-Eerik does not directly set genre restrictions for himself, nor does he limit himself in the choice of choosing instruments – anything that inspires and drives will be used, starting from analog synthesizers and ending with recorded sewer pipe sounds.

Born a french, fried in Belgium, Accou recently delivered on stage ecstatic dancefloor sets for the techno enthusiast.

Back to he intimacy of his studio, Antoine lets himself go to layered dreamy electronics with a warm loving
feeling covered under six feet of snow. On the other side of the record, that noisy guitar sound coming straight out of the early nineties instantly
catches the ear to an intense and joyful travel in time.

Lexi Disques is a maverick label based in Brussels since 2008 that explores the rich possibilities of the
7-inch record single. A welcoming home for experimental and adventurous musicians of diverse backgrounds, from fresh and vibrant faces to underground heroes, dwelling between the misty fields of
psych-pop to the straight (and not so straight) roads of electronics.

Charles D unveils his debut Drumcode EP, following three excellent releases on the label.

Ever since the New Yorker shared his remix of ‘Your Mind’ with Adam Beyer, which would go on to become only the second officially released remixes of the legendary track, we knew we were onto a special talent. A strong single on A-Sides Vol.11 ‘Traction’ was to follow, proceeded by another superb remix, this time of Mike Macaluso’s ‘Final Chapter’, reinforcing his skilled studio touch.

Now a year on from his first appearance on Beyer’s label, he steps up for a richly deserved debut EP, ‘Don’t Stop’, which encapsulates all the stylistic facets of his productions. The title track is fun and driving, brimming with ‘90s rave stabs and peak-time fizz. ‘No Escape’ is a pulsating stomper fusing together percussive techno and melodic elements to form a track that will work in a variety of environments. ‘Choir’s Palace’ is a dreamy tool and perfect for shifting the momentum during a peak-time set.

Best Italy presents : the official remastered limited edition of one of the most sought after italo-disco jam from 1983! A one-off studio project featuring Belen Thomas on the vocals. This one became huge in the early chicago house movement and represents an early example of use of the classic Roland TB-303 Bassline!
This 2019 release offers for the first time the unreleased dub version of Melody plus the original versions.

The Bladehouse crew is back with Bladhouse IV, offering another slice of the good stuff. Four differently styled out tools spanning from stripped house to peak-time groove and the occasional minimal bleeper on the B Side. Get your hands on this versatile dance-floor weapon as long as it‘s stocked. As Always: No Names - Let it Rip

BHO004 starts things off with a groovy, intuitive vibe on A1. A bumping Bassline dives Deep into hypnotic and subtle chord layers and a thriving shaky beat, perfect for open spaces and creating a lifted atmosphere.

A2 is a hidden stomper. Techy drum loops blend with dubbed-out pad shots, crafting a dark and moody rhythm that builds up to a climax, creating moments of anticipation and release.

The B Side is opened up by glitchy and gritty textures that evolve into a warm body of soothing groovy minimal with an intimate ambivalence. Use this to hypnotize crowds of any form and size.

B2 wraps things up with one more perfectly crafted mood swinger. Repeated percussions come together with a deep pad, gradually clearing up and welcoming mind-bending plucks and bleeps when the main theme kicks in. It creates a moody and meditative vibe with plenty of drive to keep you moving.

Afroterraneo Music founder Kiko Navarro joins forces with old friends and fellow Balearic heroes DJ Pippi and Willie Graff for the 'Tempistica Mistica EP', comprising two percussive, Afro-Latin flavoured prime cuts of dancefloor-ready House music.

Kiko Navarro met DJ Pippi and Willie Graff in the early 2000's, when he was resident at Pacha Mallorca. Making a pilgrimage to Pacha's Ibizan mothership to make sure two venues were musically aligned, he quickly became friends with Pippi, who was resident at the club, and Graff, who was hosting the Funky Room upstairs. Unbelievably, the three had never collaborated together before until December 2022, when Graff and Pippi finally visited Kiko's Mallorca studio and 'Tempistica Mistica' was born.

Heavily inspired by Cuban conga rhythms, opening track 'N'Fumbei' deftly blends live percussion, horns and vocals with pristine rhythmic synths and warm electronic touches to summon up a cosmic carnival taking place somewhere between the past and the future...

The floaty, piano-led 'Esanah' raises the tempo into timeless Latin House territory, paying homage to the fusion sounds pioneered by the likes of Julien Jabre & Dj Gregory in the late 90s, while updating the sonics and arrangements to sound completely fresh.

Finally, 'N'Fumbeats' strips 'N'Fumbei' down to bare bones and lets the percussion ride out, making an essential DJ weapon for those serious dancers.

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.

Limited Edition Pink Vinyl Version - 500 Units Only

Berlin-based, DJ, label owner and record store head honcho, Cinthie, provides a sublime remix of Frankie Knuckles ‘The Whistle Song’ for Frankie Knuckles Day via SoSure Music, alongside the ‘Re-Directed’ Director's Cut version of the track.

Known and loved as ‘The Godfather Of House’, Frankie Knuckles’ pioneering sound inspired a movement of love across dancefloors of the Chicago warehouse and beyond. In retrospect of a career that spanned over four decades, there are moments that were pivotal to the movement of House Music and ultimately changed the course dance music forever. Frankie’s 1991 studio album ‘Beyond The Mix’ on Virgin Records, featured one particular moment that would remain in the hearts and minds of generations to come…

‘The Whistle Song’ went on to earn Frankie’s first US Dance Chart number one and has become one of house music’s most iconic and recognisable productions. More recently, the track has been ‘Re-Directed’ under the Director's Cut project that Frankie worked on with Eric Kupper; his long-time studio collaborator and close friend. With Frankie Knuckles Day approaching on 25th August, Cinthie now delivers a brand-new remix on this stone-cold classic.

Berlin based DJ and producer, label owner 803 Crystal Grooves and its sub-label Collective Cuts, we_r house, the Elevate record store and proud parent, Cinthie has grown to become one of the most revered and respected figures in contemporary electronic music in recent years. Her unfaltering drive and dedication to all things House alongside her wide spectrum of some of the most noteworthy vintage drum machines and synthesizers in existence, pinned her as an ideal candidate for a remix of this piece of dance music history.

Living up to exactly that, Cinthie’s remix is a divine update of the original, holding the iconic whistle sample at the forefront whilst including dreamy electronic blends that allow the track to be heard from all angles; peak time club moments, sunrise sets, garden raves, festivals and airwaves…. just in time for the positive times that are ahead.

"BASELINE CAVI" is a collaboration album between Inland Empire/Los Angeles rapper Trizz and producer MIKE SUMMERS (aka Seven) from Kansas City. The album has that classic Westcoast Hip-Hop sound and the intro track gives that feeling right away. Guest features on the album are from Bino Rideaux, XV, T.F, ICECOLDBISHOP, John Givez and Bale.

Though fans may not know it, this collaboration between Inland Empire California emcee Trizz and Kansas City production ace MIKE SUMMERS has been brewing for close to a decade. Back in 2013 SUMMERS (then known as Seven) was already a prolific producer signed to Tech N9ne's Strange Music label and Trizz was part of horrorcore legend Brotha Lynch Hung's Madesicc Muzic roster. The two connected while working on Lynch Hung's "Mannibalector" album and a spark for future work was laid.

Linking up in spring of last year, the two creatively fed off each-other with the resulting album evoking classic West Coast melodicism and car-rattling thump. As Trizz states "this sh*t is so f*ckin authentic. It got bounce, it's swangin' and bangin! When you hear this album, you can feel it and damn near smell the palm trees and bomb ass weed."

As SUMMERS relayed "It's probably different for a lot of my fans to hear a more classic West Coast style of production from me, but that style of production has always been embedded in my sound. I grew up on 90's West Coast Hip-Hops studying producers like DJ Quik and Dr. Dre. The only reason I started using lots of live musicians on my tracks was because I watched Quik do it. BASELINE CAVI really let me dig into that classic L.A. sound that I've always wanted to build with.

Lyrically Trizz's immediately distinctive flow and storytelling abilities are at a new plateau with the emcee admitting "The lyrics on this album are probably more refined and defined because I just turned 30 and I have no more time to waste."

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Jordon Alexander (pen name Mall Grab) brilliantly carved out his very own niche in dance music. Influenced by hardcore punk skateboarding and high fashion (Linea Rossa!) in equal parts the young Australian delivers precise studies in house and techno. As entertaining as they are excitatory there hasn’t been a bump on his road so far. Alexander’s debut for Running Back proves this point. How The Dogs Chill Vol.2 delivers four high octane tracks whose DNA contains traces of deep house and a penchant for atmospheric and dulcet melodies. But they are also muscle-bound soaring and cater to the aptitude of shaking legs. Written in 2022 while he was around the flora and fauna of Australia these tracks are also supposed to sound somewhat botanical – or at least evoke the sensory experience of a visit to a greenhouse. Carefully sequenced and crafted one is left with an appetite as soon as the playtime is over. Proper nutriment for party people and serious music pendants alike.

Third solo release of Mike Inzinger Feat. three Detroit Techno Tracks of classic Robert Hood style minimalism and 1 bonus Electro/House Track! Stunning!

Mr Projectile, one of our favorite IDM producers from back in the day, has given La Luna the chance to share some of his unreleased IDM tracks from the early 2000’s. The album is an eclectic blend of ambient, IDM and experimental electronics.

These sounds are a time machine to simpler, less chaotic times and have become essential listening these days. We envision this album spinning on a sunny Sunday afternoon, filling your room with the delicate and deep textures of electronic music and soothing your uncertainty. Enjoy a nice cup of coffee and explore your thoughts as you speed through time and space. Hopefully serving as a special reminder that we are all in this madness together.

Not only is the music stellar, but we are honoured to have Marcello Raeli, an Italian artist and car designer, accompany the music with his wonderfully mind bending artwork. Marcello is an artist who has designed some of the most insanely beautiful/fast cars on the planet. Here we get to take a deep look into his mind and marvel at the incredible interconnectedness created in this piece and appreciate the sense of depth and space created for this album.

Beyond Paradise returns with a sumptuous slice of tripped out business from the mind of Richard Hardcastle aka Solid State, complete with two stunning remixes from Richard Sen and The Veteran Delinquents.

Over 35 years in the game, as a club DJ, radio presenter and producer since the late ‘80s, Richard Hardcastle is a true veteran of the scene and certainly knows a thing or two about what works on the dancefloor. ‘Seven More Minutes Of Funk’ delves into the psychedelic side of his production with a club-ready cosmic stomper complete with twisted guitars, hypnotic synths and wall shaking bassline.

‘Rhodes To Nowhere’ is more beachside than basement, a funked up retro electro cut with dazzling keys, ‘80s snares and a serious shot of feel-good flare.

On the flip, the title track gets the remix treatment from Richard Sen and The Veteran Delinquents, the former warping the original into an EBM powerhouse whilst the later turns into an end of the night, electro-infused chugger.

Borka's new 7" is a double single which features two tracks, taken from his new Places EP.

The A side features Todra, a track that builds up slowly, but before one knows it, it becomes a full-on neck breaker. The samples transport us to rocky Moroccan gorges, but do so with a killer hip-hop mood that bring to mind early Dimlite stuff.

On the B side we have Svetac, a track that swirls around a distinctively engaging folk sample, which immediately drops us on an island in the middle of the Adriatic sea. But Borka and his collaborator nikson manage to build a space portal around it that constantly flips between images of careless summer evenings and interstellar voyages.

"Memories in the corner of my mind
Flashbacks, I was laughin' all the time"

The package includes a download code for the full 8-track Places EP.


b 02: Svetac (dva tovara) feat. Nikson

With one foot planted in jazz and the other in the township groove of Mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.

Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group the Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jaw-dropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.

For enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. Reissued for the very first time, Bra Sello returns in 2023 with limited replica editions from Afrodelic using master tape sources from the As-Shams/The Sun collection. Afrodelic’s unique edition of Butterfly features a previously unreleased track on Side B.

Adinda Dwimadasari and Dea Barandana take you on another dancefloor oriented voyage (to the Moon?) of originally written and produced contemporary disco wellness. Precious Bloom continues to carve out a sound of their own with 4 beautifully executed tracks. A selection of hand picked instrumentalists in addition to Dea's multi-instrumental studio prowess, the scene is set for Adinda's vocals to unravel in dreamy cosmic nuances from mysterious soft spoken word style voices to romantically sung lyrics in astrophysics. Truly refreshing in today's dance floor sound dominated by synthetic/digital convenience. Recorded in Jakarta and mastered in Berlin.

S.A.M. is back on their own Delaphine label after a four year hibernation period. The leading cut ‘Project050’ comes in two version, a Studio Version and a Live Mix. The foundation is a grooving 12bit 909 pattern that’s as crisp as it’s phat. Combed in between the syncopes of the groove are layers of acidic and resonant tones padded with swelling chords lifting you in and out of the metaphysical. Second track ‘Ha’ reveals references within a wide range of dance music history from early Derrick Carter-esque beats and 90’s dub techno to organ Melodies and UKG sub bass-lines. The transient beats work like tent poles for the thriving and continuously evolving melodic culture growing underneath. S.A.M. is showing a drive and a ferocity with this EP that speaks to an interesting 10th year of Delaphine.

‘Gentle Persuaders’ is the Love Love debut from London based neo-noise-jazz outfit Sly & The Family Drone. In the form of a four track long player, Sly vomit forth a smooth serving of curious and clattering noise not devoid of fun.

With the ingredients of shattering baritone saxophone, splurges of analogue noise, rolling drum derangements and snarling feedback it is immediately clear that these formidable noise-mongers have honed their methods of ear-attack adeptly. Textural spaces are peppered with bouts of densely packed controlled-chaos creating a tension that builds almost imperceptibly until the crushing pay-off that comes with the final track.

The politest of bludgeonings, ‘Gentle Persuaders’ has a real sense of cohesion and style, at times subtle and at others shudderingly direct.

With their unusual and interactive live shows, the group cut their teeth stunning the audiences of punk and noise scenes across the UK and Europe. Now, Sly & The Family Drone present their most complete recording to date; a rush of sheer ataxia ushering in a new age of noise.

2023 Repress

Taking the basics from the past we seed our future. Apparently the songs hosted in this 12" are just techno tracks but the man behind them knows what he is doing.

Expect the unexpected: trap breaks, Chicago swinged rhythms, epic breaks and a lot of cowbell. All out of the ordinary to surprise the crowd, the listener and your neighbor if you play it loud enough during lockdown. All written and produced by one of those underrated genius who has studied and mastered the history and culture of rave music.

Dj Plant Texture is a sublime vinyl DJ, he owns a record store in the south of Italy and his prolific producer catalog along genres speaks for itself. Honored to have him in this second edition of Música Techno para Discoteca Presenting his new alias A.662

Disruptive techno music for believers, disc-jockeys and collectors. Play under your own risk.

Boss Priester makes his LOCUS debut with his bustling four-track ‘Hotel Dijon’ EP.

Working hard in the studio to develop his own take on minimal-leaning house and techno, The Hague-based DJ/ producer Boss Priester is starting to reap the rewards and emerge as another hotshot from the country’s hotbed of electronic talent. Racking up support from the likes of Dungeon Meat, East End Dubs, Michel de Hey, Dr. Banana and Alec Falconer, his releases on What NxT and Dark Side Of The Sun have accompanied appearances at the likes of Thuishaven, Colorado Charlie and Lovelee. Another fan of the young Dutchman is FUSE and LOCUS boss Enzo Siragusa, and late September brings a first appearance on the latter imprint as he makes his label debut with his four-track ‘Hotel Dijon’ EP.

Title track ‘Hotel Dijon’ comes loaded with raw drum licks, cosmic synths and menacing, swirling low-ends for a heavy-hitting opener set to cause serious dance floor damage, while the slinking ‘ROF66’ mixes eerie stabs with shuffling drums and bouncy baselines for another heavyweight anthem. Next, ‘SUP01’ keeps things ticking nicely on a similar tip with yet more punchy percussion arrangements linking with playful sound design peppered with zippy FX, before closing the show with the hopped-up, bass-driven sonics of final effort ‘Wek’.

Boss Priester ‘Hotel Dijon’ EP drops via LOCUS on 22nd September 2023.

Diffuse Reality presents Wonch like Woo by QphoriQ, includes remix from The Exaltics.

Five original tracks by QphoriQ a perfect blend between drums, jungle, bass, breaks and electro stuf!

Featuring a trademark remix by The Exaltics to rock any dance floor.

The bright new duo, Marcel Vogel & LYMA, triumphantly returns to Boogie Angst with their sizzling new EP offering, No Time.

Following the recent release of their lead single, Free Time, we're proud to introduce four new, unique tracks to their burgeoning collection of juicy tunes.

Funkiness and abstraction take center stage on this EP. Opening up with the previously released Free Time, featuring filtered vocals and an unconventional structure that blends rich synths with dusty analog stabs and 1990s rave plucks.

The tempo slows down on Easy, a gorgeous song that sounds like a lost Sade demo, featuring subtle beatbox textures, tiny synth plucks, all ending up in a delightful culmination of delayed textures.

Broken Wings begins with a captivating vocal performance, leading to a sturdy Roland bass drum, sustained chords, and resonant arp sequences, with hints of Freestyle.

Flame On creates an almost tropical atmosphere with looping, scattered vocals and an abundance of cowbells. All before the EP closer, You're A Star, rounds things off with clunky basslines, a steady groove and hypnotic pitched vocals.

No Time follows the duo's debut Boogie Angst EP, Games Change, and is a powerful step forward in their young, yet promising catalogue.

A special vinyl edition of No Time will also grace our stores soon.

Caserta’s favourite era of house was when the line between hip hop and house was really only made visible by the tempo of the songs. An art mastered by legends like Kenny Dope, Armand Van Helden and DJ Sneak to name a few.

FF to 2023, Caserta returns to that form with Joe’s Boutique. An obvious nod to the craftwork of the seminal album Paul’s Boutique by the Beastie Boy’s. Caserta fired up the samplers and sliced and diced his way to his first EP in years. With swinging drums, heavy basslines, chopped up vocals and music you might think you stumbled across a lost Strictly Rhythm acetate but mixed and mastered to year 2728 by the man himself.

Complete with vocal interludes segueing from track to track this truly is a listening experience as well as a dance floor filler all in one.

Recommended for everyone who is into uncompromising dance music devoid of emotional signifiers and willing to catch a brief glimpse into the chaotic dimensions of a cold urban environment. credits releases September 1, 2023 Recorded and mixed by Low Order Mastered by Daniele Antezza at Dadub Mastering Artwork by Misha Brin Layout by Anna Haleta

Repress.

Back in 2015, Japanese DIY house pioneer Soichi Terada stepped back into the limelight courtesy of Rush Hour's 'Sounds From The Far East', a Hunee curated retrospective of material first released on his own Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light.

Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light.

“I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.”

Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor).

Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages.

The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise.

There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Very special material found in the legacy archive of a Ukrainian rock'n'roll star from the '90s, the frontman of the Braty Hadiukiny band. After a long pause in his musical career and a life-changing period abroad, he unexpectedly switched to electronic music production.

He passed away in 2009 without releasing these tracks, and only a very limited number of people ever heard them in his studio. His productions include eclectic house, progressive trance, and downtempo tracks we discovered thanks to his former wife, who kept Serhii’s artistic heritage throughout the years.

Layton Giordani continues his inspiring studio form with ‘Phantom’.

The new two-tracker comes off the back of his collaboration with HI-LO ‘Rabbit Hole’ that nears 3M streams, and his most recent Drumcode EP ‘Life Moves Fast’, which was an early 2023 highlight.

The title track is a vibrant dancefloor trip, sometimes feeling more like a widescreen film soundtrack, such is Giordani’s skill for crafting a thrilling dramaturgy, while always having a strong ear for strong, driving rhythms.

Stepping away from techno, ‘Thrillseeker’ shows a side to the young New Yorker we’ve never seen before. He draws from hip hop, trap and pop, reinforcing his breadth as a producer and talent for sound design.

“I wanted to evoke the vibe of an exciting city at night and channel that unique energy into Phantom. Thrillseeker is pretty much the idea behind the name. I wanted to experiment and make something out side of my ordinary sound. Expand my horizon and welcome some new sound and energy in the studio.”

"Pablo's Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo's Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo's Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo's Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely.

Pablo's Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo's Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo's Eye seeks out the concealed mechanisms, it is a song's hidden agenda.

For this compilation, it was decided to present the softer air-beatings of Pablo's Eye. More than anything, Pablo's Eye is a temporary atmosphere, like a taste or a dream..."

The entire musical spectrum of the label in one dancefloor-proven anniversary record.

Mastering by Kashatskikh Studio, Saint-Petersburg (RU).
Design & Illustration by Kirill Kashatskikh.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















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