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Enigmatic producer bullet tooth makes Crosstown Rebels debut with ‘IF I CAN’T BE YOURS’. UKG meets melodic house on the four-track EP, featuring remixes from Enamour and SICARIA.

If you haven’t heard of bullet tooth yet, you soon will. Brimming with UKG, rave, and rap influences made deviously dark with heavy low-end basslines, this faceless newcomer’s captivating sound has seen him enjoy a meteoric rise since emerging on the scene in 2023. Graduating from Soundcloud bootlegs, the elusive artist made his Parklife debut this summer alongside rapper Capo Lee, with whom he produced ‘Keep It Rolling’. Featuring in sets for the likes of Sammy Virji, Main Phase, and Interplanetary Criminal, the aforementioned collab proved an instant hit, gracing BBC Radio 1 and 1Xtra airwaves via Sarah Story, Jeremiah Asiamah, DJ Target and more. Add supporters such as Floating Points, Laurent Garnier and Bicep to the mix, and it’s easy to see why there’s so much hype and intrigue.

Concluding his summer with a bang, the UK artist joined Damian Lazarus for his Hï Ibiza residency alongside Black Coffee, and now the DJ/producer ventures into melodic landscapes via Lazarus’ Crosstown Rebels with ‘IF I CAN’T BE YOURS’. The four-track EP also features additional remixes from LA-based talent Enamour and London’s hotly sought-after Moroccan dubstep favourite SICARIA. Leading with the powerful, ‘IF I CAN’T BE YOURS’, bullet tooth takes his sound to the club, featuring nostalgic 90s-esque vocals over dubby bass that lean towards the dancefloor. Second up is the uniquely melancholic-euphoric ‘YOU THINK YOU CAN FIX ME’, where UKG-style rhythms journey deep into melodic realms with purpose and precision. On the b-side, California’s Enamour reworks ‘IF I CAN’T BE YOURS’, directing his energy into a high-energy remix destined for festival grounds. To close out the EP, SICARIA leans into breakbeats with a climbing rendition of her own, infusing the track with lingering afro-leaning flavours.

Bringing stark dread bass vibes like no one before or since, Mars89 makes a welcome return to Sneaker Social Club with another four-track script flipper.

Since he first surged onto the radar with some incisive moves on Bokeh Versions back in 2017, Masayoshi Anotani has deployed a raw, non-conformist kind of bass music that's minimal in spirit but packing incredible weight where it counts. It draws parallels with weightless grime, but swap the woozy square wave synths out for fierce industrial textures and dystopian bleeps, and maybe you're halfway there.

Following on from 2022's Night Call and a collab LP with Seekersinternational on his own Nocturnal Technology, Mars89 is back with an EP which takes on new sonic dimensions without losing the persistent moodiness that makes his shadowy sonics so compelling.

'No Control' feels the most in line with the earlier Mars89 work, creating a back and forth between an upfront grime-y synth lick and blown out bass notes. The space around the notes is as vital as everything being played, creating a tension that doesn't let up no matter how much the brittle percussion rattles.

'Sonar Breaks' feels distinct as it drags a sticky drum loop through the dirt until it comes out positively caked. That leaves plenty of room for the bleeps up top to cut through the mix with devastating clarity, and Mars89 needs nothing else to make a taut piece of soundsystem Semtex.

'Hydra' continues to draw influence from jungle while taking a sideways approach to breakbeat edits, finding a curious groove in angular drum science before a stark arpeggio locks the track down. It's another hint at the different tools being reached for on this EP, brought into the Mars89 methodology and bent to his particular will.

'Still Dreaming' closes the EP out with an evocative sample from a sci-fi blockbuster and a spiralling sound bed of synth lines and break shards. While the track lands softer than its predecessors, the dense mix whips up a claustrophobic allure comfortably aligned with the overall intensity of the record — an intensity which is wholly unique to Mars89 and his maverick manoeuvres in the field of contemporary bass music.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Distant Worlds welcomes Gilbert to the roster with an EP possessed by the ghosts of UK techno past. A broad offering of sonic delights echoing the days when the likes of A13, Pure Plastic and GPR were sharing shelf space.

‘Lost Frequency’ kicks off with eager intent aimed directly at the dancefloor, drum machine funk collides with punchy bass and soaring synths. ‘Quantum Echoes’ offers a meditative take on bass weight accompanied by heart-breaking melodies and enriched by a true master’s attention to detail.

Flip over to ‘Earthscapes’ for a breakbeat infused workout resplendent with percussive flair and melodic deep bass. ‘Particle Drift’ takes us home in style with beautiful acidic flourishes atop emotive harmonies that could easily be an undiscovered gem of 90s techno. Timeless music sure to endure.

The Allergies return to their 100% sample-heavy roots, with a reworked slice of dancefloor friendly Southern soul on 'Knock Me Off My Feet'. Flipping a much sought-after 45 from the late-sixties, they take an already pumping Motown-influenced arrangement and bolt on fat drums, beefy bass, percussion and horns, taking it further than the OG band could ever imagine.

'Let Me Hear You Say' on the b-side takes us way back to New York club scene of the early 80s. Re-working old school MC chants over strutting disco loops, this finger-snapping slice of retro realness is packed with sleek and slinky grooves, and a beat that won't quit.

A sense of destiny hangs over Sentir Que No Sabes, Mabe Fratti’s fourth solo-credited album released in a five year span. Her work has always possessed a finely tuned sense of drama capable of expressing a range of emotional states, and across this new album, she conveys the struggle to process various relationships or situations–and the actions that come next. Sentir Que No Sabes is urgent and clear, poppy, generous and approachable, while showcasing a considerable emotional hinterland. It is also, as Fratti is quick to mention, “groovy.”

Written and recorded with her partner, multi-instrumentalist, and co-composer Héctor Tosta (I.La Católica, Titanic), Sentir Que No Sabes is the result of an intense, detail-oriented process. Fueled by a new confidence gained in their collaborative project, Titanic, and its critically acclaimed 2023 LP, Vidrio, the two hunkered down in the familiarity of their studio (aka Tinho Studios) to bash out the initial sonic coordinates of her new record. “We talked and talked, and discussed ways of playing and recording, until things became inevitable,” Fratti explains. “We recorded a bunch of demos at our home studio and that meant we had a lot of time to re-edit and experiment. We really dug in. We were super focused on detail.” Tosta also took up the controls as producer and arranger-in-chief for all additional instruments. The album was later completed at Willem Twee Studios in Den Bosch in the Netherlands, and Pedro y el Lobo Studios and Soy Sauce Studios, in Mexico City.

For the final studio recordings, the pair were joined by drummer Gibran Andrade and trumpetist Jacob Wick to fill out and expand on Tosta’s percussion and brass arrangements. This small group of friends were able to work quickly and openly, and without fear: a testament to the exhaustive groundwork put in at Tinho Studios. This can be heard in three short, intermediary tracks that also manage to be the most aggressive on the record: “Kitana” (a scratch-laden instrumental that acts as a strange prelude for the last track, “Angel nuevo”) and a pair of two-minute instrumental interludes, “Elastica” I and II. None are throwaway mood pieces; rather they act as emotional cue cards, and hint at the way Fratti and Tosta created the overall atmosphere of Sentir Que No Sabes.

A strong sense of rhythm irrigates the sound from the jump, as heard on the glorious opening track, “Kravitz.” Here, the brilliant plucked cello line acts as a bassline and props up the steady thump of the kick drum. The cello’s growl serves as a conduit for a set of slightly paranoid lyrics that tell us “Quizás haya oídos en el techo” (“maybe there are ears in the ceiling”), while the song also introduces another staple of the record: the clever brass stabs, whistles, parps, and other interjections that paint a canvas of traffic in a city. It’s a postmodern, widescreen sound that for some might recall The Blue Nile’s Hats.

Sentir Que No Sabes is a record full to the brim with a modern pop sensibility, invoked by the sort of magpie spirit that ensnares anything it can find, repositioning sounds for the here and now. The keys and melody on the melancholy “Pantalla azul” (“Blue screen error”) transport us back to the glossy mid-1980s. “Oídos” (“Ears”) is a beautiful slice of contemporary, hybrid pop, in which Fratti’s vocal lines delicately spin themselves around the lean structures erected by the brass and drums, and the descending “plink” of a set of piano chords. Then we have a gloriously strong ending with the swell of “Angel nuevo” (“New angel”), another cinematic track full of gentle, instrument-rich swells and eddies that manages to be almost endless in its range–and yet intensely personal, as Fratti’s voice is close, almost whispering in your ear. A much needed lullaby for our fractious times.

The lyrics, for their part, have a stop-start quality to them, and hint at the small, incremental emotional taxes we pay through just living our lives. They circle around the music like birds waiting to swoop. There is something of the spiritual in all of Fratti’s work that expresses itself in a form of yearning: she looks to new horizons while personal dramas find themselves internalized, contextualized, and then dealt with through metaphor. Here, she was keen to mention Tosta’s constant encouragement in her finding a path to best sing or phrase her words to impart their maximum effect. “Hector was super inquisitive about my lyrics and asked me questions about what I meant, which sometimes is something you don't wonder so much about in isolation,” Fratti explains. “Besides, he is a great poet, and you can see that in what he did on the Titanic record. This made me go deeper into my lyric writing and definitely transformed it into something that I feel super happy about now.”

Take “Enfrente” (“In Front”), a track that initially comes across as a languid, glossy number, with plucked cello strings standing in for a bass line and brittle synth parts. Soon we catch on to a brilliant minor chord switch, which mirrors the fear and doubt expressed in the lyrics as someone “trembles up to the podium” in a “search for meaning.” There’s also the startling introduction of a vocoder in “Quieras o no” (“Whether you want it or not”); it comes precisely at the point Fratti sings “Quieras o no es un desastre” (“Whether you want it or not, it's a disaster”). Moments like these leave room for interpretation and, over time, create a strong bond between the listener and the record.

In fact, across Sentir Que No Sabes, each phrase–whether instrumental or vocal–becomes at some level emblematic of acts and moods that impart deep emotional significance. We see this best on “Intento fallido” (“Failed attempt”), which could be the score to feeling trapped in self-doubt, only to suddenly be sprung free by the song’s gloriously upbeat ending. On “Márgen del índice” (“Index margin”), the quicksilver switch between initial disharmony and a beautiful melody is breathtaking, all augmented by evocative arrangements, textured production, and the slightly playful, gnomic lyrics. The track’s emotional ecosystem allows another brilliant ending, which uses the simple repeated phrase, “Cómo lo va a ver?” (“How are you going to see it?”).

So what to make of Sentir Que No Sabes? High gloss Pastoralism? The sound of a city-bound, post-post modern soulscape? No matter the emotions evoked, it's the work of an artist coming into their own, and creating a benchmark record.

After more than ten years, four albums and countless shows, Swiss artist Joell Nicolas takes a turn and releases her last album as VRVN. Despite being an ending, Storia is also a place for beginnings. For the first time, VRVN brings together her semi-modular synth with an acoustic instrument, but not just any: a church organ. Filled with air like a dragon, it becomes both emancipating and dangerous, weaving its sounds with synthetic ones, together with voices and lyrics: in English and –also for the first time– in French.

Three years of musical research condensed in ten tracks, sometimes structured as songs, sometimes as sensitive soundscapes. Stemming from an exploration of textures over structure, Storia meanders through intimate topics, such as childhood, silence, risk, healing and transformation.

With the support of Ville de Lausanne and Canton de Vaud.

Balmat began our journey in 2021 with the release of Luke Sanger’s Languid Gongue. Now, three years later, we turn an important corner as the Norfolk musician rejoins us with Dew Point Harmonics, the first repeat appearance on the label. Sanger’s new album feels like a natural extension of his inaugural record for Balmat: It’s a bewitching collection of esoteric synth sketches that slips unpredictably between consonant repetition, poignant melodies, and gnarled bursts of noise that catch in the ear like burrs in hiking socks.

That natural metaphor is perhaps not accidental. Despite having been composed on Sanger’s diverse array of hardware and self-written software, many of the tracks were first conceived while Sanger was hiking in a particularly wild and isolated section of the Norfolk coast. The field recording that opens the album, on “6am Beach Walk,” was taken on one of his many early-morning walks there, in which he and his dog might go for miles without seeing another soul. The album’s title was inspired by the overnight condensation covering the long marram grass in the dunes, glistening in the early light (and drenching everything coming in contact with it) before evaporating in the morning sun. Indeed, the concept of dew point—the temperature at which water vapor condenses into a liquid—feels like the perfect metaphor for Sanger’s music, in which foggy ambience is distilled into glistening quicksilver orbs, transient spheres of perfection eventually absorbed back into the atmosphere.

A shapeshifting collection of richly detailed and deeply expressive electronic miniatures, Dew Point Harmonics is both a testament to the mysteries of transformation and an invitation to get lost in the wilderness of your own imagination.

After 17 albums and a prestigious GRAMMY® Awards nomination, Ibrahim Maalouf returns with a new and highly innovative musical project. In terms of philosophical, historical and musical aspects, T.O.M.A, which stands for "Trumpets of Michel Ange", is a great adventure that takes us to a world where folklore and modernity become one. As always, Ibrahim's music strikes the perfect balance between sophistication and approachability, making it both challenging and inviting for a diverse audience. "T.O.M.A” is first and foremost a mixed album, a true blend of influences where the festive and nostalgic East is expressed with a rare freedom.

"T.O.M.A" is also the name of a brand of trumpets created by Ibrahim in collaboration with French manufacturers. It is this unique instrument, invented over half a century ago by his father, that Ibrahim plays on stage, and on which he now educates the new generation of trumpet players.

Last but not least, 'T.O.M.A' is a big celebration that brings together generations, amateurs and professionals alike, along with special guests!

With T.O.M.A, Ibrahim lays the cornerstone of an ambitious life project combining lutherie, French cultural exceptionalism, teaching, albums and live performance, and above all aiming to bring us together around shared values.

These tracks were taken from the album ‘Head’s Above Water’. Over the last one and half years, we have been on a journey to record this album. A journey that has enabled us to discover more about ourselves, our surroundings, our desires, and our fears. We are thankful to be able to share this and we hope you’ll enjoy this music we’ve worked hard to create. - David & Frank

UK producer Lex Wolf joins the RNT roster with a searingly hot EP of summer bangers! Known for his recent superlative output on the Make-A-Dance crew’s MAD Edits series, Lex brings his signature sample-heavy touch to this quartet of club and festival-ready tunes. Sounding a bit like Bob Sinclar over tough electro production, ‘Get Into The Sound’ starts the record off with a party then moves to the genre bending ‘Russle Love,’ with its melancholic vocals floating over a pulsating rubbery bassline. On the flip, ‘Warmer’ takes us into darker latenite territory with heavy low-end, stabby 80s synths and abstract vocal samples, and the record finishes off with the whimsical and effusive Sendsome, a plucky-guitar and horn driven earworm of an Afro edit. Classic RNT white label design with a special hot pink sleeve…because this baby is HOT!

Powerful duo Henri Bergmann and Wennink make their Crosstown Rebels debut with ‘Guardian Angel’. Stimming and Hardt Antoine take the single to darker territories on their remixes.

Magnetic husband-and-wife duo Henri Bergmann and Wennink blend Bergmann’s taste for melodic realms with Wennink’s etherealv vocals and experimental left-leaning sound. Focusing on supporting up-and-coming talent via her label Automatik, Bergmann has also recruited some of the most notable producers in melodic house and techno for remixes, including The Element, Hernan Cattaneo, and Betical, while the duo's compelling collaborative work has caught the attention of heavyweights like Afterlife - featuring on the label’s ‘Realm Of Consciousness Pt.VI’ VA. Now, following Bergmann’s recent Hï Ibiza appearance and ahead of forthcoming sets at the likes of Zamna Mexico City, KOKO and Amsterdam Dance Event, the London-based couple bring their talents to Damian Lazarus’ Crosstown Rebels with ‘Guardian Angel’. Set to captivate audiences, the enchanting vocal single lands this September with remixes from German house DJ/producer Stimming and fellow London-based eclectic talent Hardt Antoine.

Melancholic yet uplifting ‘Guardian Angel’ opens with richly textured choric percussion that rises to meet Wennink's angelic vocals to powerful emotive effect. Stimming’s remix enters second, reaching for intensity over a stripped-back rendition through the driving rhythm and ethereal SFX. Closing out the record, Hard Antoine's remix pulsates with darker basslines and sharper synths, leaning into the otherworldly and stretching the melody into satisfyingly strange sci-fi-esque planes.

A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.

Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk rocker “Girl Of My Dreams”.

Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Frankey & Sandrino make their HABITAT debut with *The Moment,* a thrilling three-track EP that reimagines early trance and house through a contemporary lens. The title track "The Moment" features a haunting female vocal line, "The moment is eternity and now is just a dream," set against lush, layered synths that evoke the euphoria of rave's golden era. Balancing out the EP are “Intrinsic”, with its hypnotic grooves and futuristic vocals, and “Motivation,” with its powerful, driving synths that are sure to take over any dance floor.

Here, the celebrated German duo has crafted a package that balances underground credibility with mainstream appeal, offering a masterclass in immersive electronic music. With a rich legacy releasing on labels like Innervisions, Diynamic and their own label Sum Over Histories, Frankey & Sandrino make for a welcome addition to HABITAT, pushing new boundaries, and solidifying their impact on the global electronic music scene with this mesmerizing new release.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

Waves of Distortion (The Best of Shoegaze 1990-2022) is a superbly curated trip through the genre from the good folks at Two_piers, who have served up similarly excellent collections focussed on everything from French psychedelic pop to garage psych. This serves as both a fine intro and a great retrospective for existing fans that will take you down a rabbit hole and leave you wanting more. Some of the scene's original pioneers feature and there are many a timeless tune here that help to document the subtle evolution of the genre throughout the decades.

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

The dance floor is also a space of self-reflection. The A-side is catered by two artists from one of our favorite collectives, De Lichting. With “A Reflection”, RDS opens up and shares a beautifully crafted house gem, providing for a soft and introspective yet groovy “eyes closed” dance. Nathan Kofi takes on the A2 with his unique deep house sound, layering sweet and cinematic synth sounds over an Afro-induced drum sequencing, creating a warm sonic envelope. On the B-side, James Free mixes acid synthesis, roaring bass line, and breaks to create a progressive and subtly melodic dance floor track, one that leaves you positively triggered. With the final track of the record, Rotterdam’s Mata Disk offers a glowing light over polyrhythms and very electronic noises, offering this body of work a deserved radiating curtain close.

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

What lasts a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

REINHARD VOIGT has always placed great emphasis on loving animals. On the track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece either, even if it sounds like it.

We stay in the realm of fauna and turn our attention to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Hallo 24! Schön, dass du da bist. 23 ist ja sowas von gestern, geht gar nicht, echt. Also, bei uns tanzt man neuerdings die folgenden Tänze. Und bei Euch?

Was lange währt, wird meist gut. Schon seit vielen Jahren aus der Ferne TEE MANGO bewundernd, hat sich unser A&R Michael Mayer ein Herz gefasst und ihn zur diesjährigen TOTAL eingeladen. “So In Love” steht in bester Tradition des kompaktschen Minimal Funk der frühen Jahre. Wir freuen uns, den quirligen Engländer an Bord zu haben!

Tierliebe wird im Hause REINHARD VOIGT schon immer groß geschrieben. Auf dem Stück mit dem nicht weiter verwunderlichen Titel “Der, der mit dem Gummiball sang (Orange)” lässt er gleich ganze Horden verschiedenster Vierbeiner und Federvieh ans Mikro. Hoffentlich zieht der Gestank wieder aus dem Studio ab.

Wenn rheinischer Frohsinn auf Urlaubsvorfreude trifft, dann kommt so etwas wie dieses Musik gewordene Hawaiihemd namens “Chee-Caruso” von JÜRGEN PAAPE heraus. Auch für diesen Beitrag wurden garantiert keine Tiere gequält, auch wenn es allenthalben so klingt.

Wir bleiben im Reich der Fauna und wenden uns London’s preisgekröntem Rassehund REX THE DOG zu. “Laika” ist eine herzerwärmende Ode an die gleichnamige Mischlingshündin, die es von den Strassen Moskaus als erstes Lebewesen ins All geschafft hat. Den Bleep hätte sie bestimmt gemocht.

Eine wenig bekannte Tatsache über MICHAEL MAYER ist, dass er zu den schnellsten Kreuzworträtsel-Füchsen links des Rheins zählt, stets in unbarmherziger Rivalität zu Wolfgang Voigt, der sich für noch schneller hält. Der große Battle steht noch aus. Ungebetener Gast mit fünf Buchstaben? “Urian”.

Als fester Bestandteil der Familie darf natürlich auch JONATHAN KASPAR nicht fehlen. “Are You” zelebriert frühmorgendliche Entrückungszustände, wie sie in seiner neuen DJ-Wirkungsstätte, dem nigelnagelneuen Kölner Superclub FI Gang und Gäbe sind. Alles so schön bunt hier.

SASCHA FUNKE verneigt sich mit dem trippy Electrosmasher “The Heck” vor einem der ganz Großen des deutschen Showbiz. Geboren – wie DJ Koze und Barnt – in Flensburg, gestorben 2018 in Berlin, Brillenträger. Mehr wird nicht verraten.

Mehr Gefühl, mehr Liebe, mehr Mitsing-Faktor? Si, claro! ARGIA’s “Love Keeps You Running” vereint meisterlich Groove und Pop – eine Melange, die uns durchaus bekannt vorkommt. Sie mag zwar in Madrid zuhause sein, aber irgendwo steckt in ihr eine Kölsche. Da sind wir uns sicher.

Auf zu den Legenden, den Urgesteinen! JÖRG BURGER zeigt sich auch in 2024 in einem psychedelischen Mood. Das steht ihm, da muss er hin, da wollen wir ihn haben. Es ist ein Paralleluniversum denkbar, in dem solche Musik liebevoll Goa genannt wird.

Der WASSERMANN liest uns vor dem Schlafengehen noch ein Märchen aus Tausendundeine Nacht vor. Wir fokussieren uns gleichzeitig auf einen Punkt zwischen allem, aber auch wirklich allem und dem absoluten, splitterfasernackten Nichts. 3, 2, 1… Loslassen

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in many of Frankie’s productions. Having both worked together for many years they established themselves as ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purposed classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music.

For the third volume classic cuts such as Inaya Day & Robin S. - Right Now (A Director’s Cut Master) and Marko Militano - Good People (Director’s Cut Signature Mix) are nestled alongside equally absorbing Directors Cut mixes of Vintage Lounge Orchestra covering 'Dreams' and Art Department pres. Martina Topley Bird feat. Mark Lanegan & Warpaint covering 'Crystalised'.

The Director’s Cut Collection is a fitting tribute to commemorate the seventh anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.



DJ Feedback:

Dixon - 5/5 - "Classic"

The Black Madonna - 5/5 - "Love you Frankie!!!"

Laurent Garnier - 5/5 - "“niiiiiiiiiiiiiiiiiiiiiiiiice OHHHH SOOOOO NIIIIIIIIIIIIICE !!!!!”

Honey Dijon - 5/5 - "Iconic!!!!!!"

Axel Boman - 5/5 - "It's all about love - not about emotions!!!!

Adam Beyer - 5/5 - "<3"

Space Dimension Controller - 5/5 - "Always"

Tensnake - 5/5 - "Classic Love It"

Jonny Rock - 5/5 - "Hot!!!"

Prins Thomas - 4/5 - "very nice! fresh take on an all-time classic"

Len Faki - 5/5 - "It's been a while listening to this masterpiece - and yes - it's timeless and I love the new touch on the new version. thanks Frankie!"

robdabank (Radio 1) - 5/5 - “One of my all time faves and great mixes here!”

Severino Panzetta (Horse Meat Disco) - 5/5 - "OH YASS!!"

Matthias Tanzmann - 5/5 - "Can't believe it has been five years already. Legendary

Michael Serafini - 4/5 - "Excellant Retouch on this!!!"

Ease-Nightmares On Wax - 4/5 - "Timeless classic for a true legend RIP x"

Timo Maas - 5/5 - "well...classic!"

Tiefschwarz - 5/5 "bless Frankie Knuckles!!"

Red Rack'em - 4/5 - "Love this new version. Really tasteful. Well done!"

Hello music lovers!

We're thrilled to present a very special vinyl release that's sure to bring back some amazing memories. It's been exactly 20 years since the 2 Black scored an incredible hit in Italy and abroad with their unforgettable track "Waves of Luv" - you know, the one that takes us “in alto mare"!

To celebrate this milestone, we're releasing a commemorative vinyl that's packed with goodness. On Side A, you'll find the two most-played original versions: the Soulstatic Radio Mix and the Mattara Vs Vtraxx Extended Mix. These are the classics that made us fall in love
with the track in the first place.

But wait, there's more! Flip it over to Side B, and you'll discover three brand new, super-fresh remixes that bring "Waves of Luv" right into 2024:


This vinyl is the perfect blend of nostalgia and contemporary sound. It's a must-have for any dance music enthusiast, and it'll be the perfect addition to your summer playlists. Don't miss out on owning this piece of dance music history!

Get ready to ride the "Waves of Luv" all over again!

DJ Support: DJ Support by Spiller, Alex from Tokyo, Coyote, Fango, Pete Gooding, Ally Tropical, Steve Cobby, Gold Suite, Luca Averna, Will Nicol, Danilo Braca, La Guardia De La Luz

Federico Costantini aka Luminodisco is back on Hell Yeah having long since assured his legacy with the label. Over the years, the Italian has dropped many cult and still widely played cuts here from across the disco-sphere ('Ragazzini,' 'Diavolo di un Disco,' 'Oh Mary' and more all still bang) and now he is back with a newly moved sound. A compulsion to produce something with "a more adult approach" is what defines this latest era, and a fine one it is too. Opener 'Solero' will surely become as revered as those classics above with its irresistible grooves guaranteed to bring ultimate dance floor satisfaction. The punchy drums are peppered with percussion and drum fills while gloriously sugary chords add the heat and wispy pads take things into cosmic realms. 'Jazzclub' is an unhinged rhythmic interlude that chops up vocal stabs, screwy synths and whirring machines into stomping brilliance then 'Bigfoot' slows things to a dubbed out crawl that has you gazing at the twinkling star-like synths. Things then get wonderfully wild on closer 'Soko', a jumble of percussion and tribal vocals over swaggering drum loops. Playful leads bring the sun as the dumpy bass plods on, pixel thin pads squirm all around and a celestial carnival in the sky plays out with irresistible charm.

Adam Beyer continues his elite studio form with ‘Ghost Kiss’.

The boss has been enjoying the most prolific production period of his career in recent times, while reinforcing his sonic range in the process. Recent highlights have included his standout ‘Let’s Begin’ EP which mined classic Drumcode influences, while his remix of Sharam’s PATT (Party All The Time) with Green Velvet and Layton Giordani showed a different side to his repertoire, and delivered his first overall Beatport no.1 along the way.

His latest three-track offering ‘Ghost Kiss’, continues the creative purple patch. The title track sounds like a techno outtake from ‘Requiem for a Dream’s’ soundtrack, deliciously unsettling and striking. This was made for big moments, propelled by a commanding vox that urges us to move our bodies. ‘Pilot’ shows Beyer’s musical breadth and commanding sound design, taking in elements of synth wave and indie pop all within a driving techno context. A captivating listen. The finale ‘Jack’, continues the inspired sonic referencing; a narrative-led dancefloor jaunt that takes in subtle elements house and electro, with Beyer’s unique twist.

Tooflie is back with a new exploration of regional sound from all over theglobe by the anonymous crew of edits lovers. The five different, but equallyimpressive, cuts on the fourth installment are deep dives into the soniccarnival of Brazilian favelas through the skillful reinterpretations by hiddentalents. The A2 track 'CBACA' bolsters the signature baile funk raw energywith hard house rhythms and acidic melodic patterns. Stepping between thefunkier side of electro and polyrhythmic panache, MWR - 'man withrefrigerator' is tailored to take the dancefloor to a new level. The openingtrack starts with a minimalistic yet paunchy breakbeat groove on 'PDNCA' and continues the deepness through the heavy and raw low-endextravaganza on 'RTK'. Bringing the vinyl to a close, 'LAPA' goes full-throttleon haunting arpeggios and leaves things on a blissful note.

Material Object is the main production alias of veteran Australian producer Andre Ruello. His focus is on the most psychedelic forms of techno and ambient. As well as his own productions he has collaborated extensively with Uwe Schmidt (Atom™) and the late Pete Namlook, including releasing on Namlook's Fax label. Ruello has performed and DJed live all over the world, including a number of appearances at Japan's Labyrinth festival. The summer of 2024 sees him give his debut live performance in the UK.


Mastered by Uwe Schmidt, Colour is a set of six single take studio improvisations that explore the boundaries of what can be achieved with a single instrument in the hands of a skilled musician.

Old Technology Records is Surgeon and Dan Bean's record label, focussing of psychedelia in all its varied forms.

Benny Howell (aka DJ Subaru) is a UK based producer, DJ and overall promoter of good times who's undoubtedly propelling a new generation of music appreciation with an honourable respect for the earlier beginnings of club culture. Benny Howell might also be the pioneer of a new post-Brexit Eurodance genre, with "Surrender", a catchy Pop oriented production with strong influences from Italodisco and HiNRG, written and produced entirely from scratch with best friend Bella Quirin who co-wrote the lyrics after a break up with her ex. Innocent and charming lyrics over 120's BPM drum machine and a simple melody that you'll be humming in the back of your mind for days to come. Equipped with a Yamaha TX81Z, a few guitar pedals and a makeshift bedroom studio, "Surrender" is the product of a dear friendship between the two music lovers, as per Benny's recount: "Bella came and sung on the track in my bedroom during one of the gaps between Covid lockdowns after I asked her at the pub if she knew any singers and said me of course, and we went from just friends to best friends."
The remix on the B-side by Castro takes a darker turn into what almost sounds like a Techno version with heavy dubbed out effects taking the "Surrender" theme through an unhinged Ketamine flanger vortex. Full cover artwork and mastered at Manmade mastering in Berlin.

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

Repress !

Heavy House Society starts 2022 with a high quality EP from Cologne based German artist DJOKO, and this also comes with a remix from the head honcho himself Sidney Charles.

DJOKO’s sound takes influences from funk & soul, garage, deep house and everything else in between that is both underground and raw. He’s released on an impressive selection of underground labels like PIV, Berg Audio, Talman and Rutilence, garnering numerous genre number 1’s on the download stores whilst also accruing over 11 million streams on Spotify alone.

For his debut release on Heavy House Society, we bring you his Rapture EP. The title track to the EP, Rapture is a classy deep and minimal house affair, with his house beats combining with a driving bassline, the cleverly constructed filters organs and pads giving this a sublime journey feel.

The second track is Inside of Me, which has more a skip to the beats, weighty bassline, and well worked samples. Add the lead melody line and this is a great track to get people moving.

The third track is My Crib, a bassline led track with an old school flavour to it which combines atmospheric pads which provide depth, delicate and intricate melodies and leads.

The last track is the Sidney Charles remix of My Crib, for his remix he takes this a little deeper which offers a great alternative to the excellent original mix. A more sub bass groove free’s up frequencies in the mix giving more space for the melodies to breathe in the track and take this on a stunning floating groove.

This is a superb release featuring 2 amazing artists, and for sure this with deliver the goods for Heavy House Society yet again

Damian Lazarus invites Kristin Velvet to Crosstown Rebels for ‘Wasp Nest/Get Down’, featuring and remixed by house icon Fred P. Delivering her first material on the iconic label, the Arms & Legs boss serves up two diverse productions, including a collaboration with Fred P, with the New York favourite also providing two slick interpretations of his own.

Rising to prominence over the past decade as an artist backed by a wealth of support from BBC Radio 1, Australian-born DJ/producer and label boss Kristin Velvet has garnered consistent support from The Blessed Madonna to Fat Boy Slim and Carl Cox, seamlessly blending her roots with influences from her adopted homes across the globe, including London, Tokyo and most
recently, Berlin and Ibiza. Collaborating with Felix Da Housecat while releasing material via Josh Wink’s Ovum Recordings, Cassy’s Kwench and Hot Since 82’s Knee Deep In Sound, plus her own Arms & Legs which she co-manages with Daniel Steinberg, she continues a busy 2024 with a visit to Damian Lazarus’ Crosstown Rebels for the very first time with her two-track EP ‘Wasp Nest / Get Down’ - featuring a collaboration with house pioneer Fred P who also serves up two trademark, deep dives.

Warping and twisting, armed with robust drums and ever-evolving synths, ‘Wasp Nest’ is a trippy excursion through an amalgamation of textures, delivering a driving production with twists and turns at every moment, while the slick ‘Get Down pairs crisp percussion and smooth grooves with Fred P’s iconic vocal for a classy house outing. Delivering his own takes on the production, Fred P’s first reshape is a delightful dive through dubby pads and hazy chords before serving up a cosmic excursion across his ‘Deepness’ reshape to close things in style.

2025 Repress

Raffaele Attanasio drops his first EP for two years as he heads to SHDW & Obscure Shape's Mutual Rytm for his 'Quasar' EP.

A product of Naples' rich techno history, Italian DJ, producer and musician Raffaele Attanasio is an artist who represents the city's iconic sound while drawing from influences across the Atlantic and the genre's home of Detroit. Garnering plaudits from artists including Jeff Mills, Len Faki and Ben Sims, while releasing on Mills' Axis alongside Non Series, Third Wave Black, and his own Letter From Jerusalem imprint, Attanasio's eclectic sound now delves into Italian techno of the early 2000s as he makes his label debut on Mutual Rytm - revealing his first EP in over two years and showcasing a new side to his sound with 'Quasar'.

Title track 'Quasar' brings a tunnelling groove beneath floating melodies and zipping synths, before A2 'Asterion' combines dubby stabs and punchy kicks effortlessly. On the flip, 'Blazar' is a squelchy acid-led trip guided by sharp metallic hats, with 'Axial Inclination' utilising jittering drums and slinking bass to keep the energy levels rolling.

'Clara' shapes up the physical package, a skipping, spirited and classy cut fusing hazy textures and crisp percussion, while digital exclusive 'SGR' sees things return to acid territories, with purchasers able to access a darker impactful take on techno.

2024 Repress

Lars Huismann is back on Mutual Rytm with the much-anticipated third volume of his 'Sounds From The Past' trilogy.

A core part of SHDW & Obscure Shape's ever more crucial Mutual Rytm imprint thanks to his timeless techno offerings as part of his ongoing 'Sounds From The Past' series, Berlin-based DJ/producer Lars Huismann's stock continues to rise release by release as a talent merging influences from the past with forward-thinking nuances of the future. Drawing on the early 2000 techno sound, he embellishes it with his own perspective, as evidenced by his earlier releases on the label. This latest six-track offering is another accomplished outing from this unique talent as he concludes the three-part series on the label in style.

The title track 'Sound From The Past III' opens up with a finely filtered chord groove that provides a smooth and hypnotising foundation. A subtle bassline, buoyant kick drums, and embedded vocal patterns harmonise with the synths, unveiling a smooth linear groove that soon sweeps you up.

'Fusion' brings more intensity with its barreling drum kicks, a dirty driving bassline, and melodies flashing by like headlights on an intergalactic motorway, with the overhanging pent-up energy inescapable. Next, 'Shimmer' rides on vast, heavy layered drums that are warm, and comforting as the track travels through a journey of diverse dub techno elements.

Like in 'Loucura', taken from 'Sounds From The Past II', Lars again showcases his strong influences from Brazilian and Latin music. On 'Estar Farto', the drums and bass are tightly interwoven, racing beneath bright and funky synth lines that bring ever-evolving shades of colour. A jazz drummer himself, the music transports into the groove via intelligent brass chord progressions and fine-tuned vocal and percussion elements.

It's straight dance floor business on the closing vinyl production 'Bittersweet', with its muted synth smears darting over more macho drum programming, while digital bonus 'Dusty Lick' is an unrelenting, jazzy, percussion-driven banger that hits hard and heavy in all the right places.

Paolo Rocco delivers his ten-track debut album ‘Life In Pieces’ this April on FUSE.

Born Canadian of Italian descent, Montreal-based DJ and producer Paolo Rocco has emerged as one of the most consistent names within house music over the past decade, with a wealth of material via the likes of Hot Creations, PIV, Berg Audio, Constant Sound, Taverna Tracks, and Rutilance Records showcasing his own take on house, deep house, and minimal territories. Having closed 2020 with fresh music on his own RAWMoments imprint, late-April welcomes the arrival of his biggest project to date as he makes his label debut on London’s FUSE to deliver his eight-rack debut album, ‘Life In Pieces’.

A body of work rich in classy collaborations with artists such as Robert Owens, Alix Alvarez, Kiki & Mavi and slick solo production, ‘Life In Pieces’ delivers a blissful journey through Rocco’s rich sound palette, revealing the most in-depth project of his career while marking his long-awaited debut on FUSE in style.

New Release "Gypsy Heart / Beautiful Lies SKYLINE RECORDINGS Is proud to be release another OG banger from the wonderful Ms Betty Black "Gyspy Heart" is a driving dancer with sassiness and flair, just how Betty like it. Power vocals with a punching back beat, screaming for the dance floor. Betty goes back to the beginning when Rhythm met the Blues under the watchful eye of Gospel and the African-American Spiritual. It's mystical and cinematic but gutsy, and funky to boot! Roots Revival Soul with a sophisticated twist. On the flip "Beautiful Lies" Perfect song, uptempo dancer - which throws you staright into a story, where Ms Betty Black takes you into another world, but one that so many women, in particular, can relate to - another strong vocal mover, with a motown overtone. Summer fun. SL45030 x400 copies includes paper insert slv "I always expect excellence from her and she's delivered again" - Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio6, 01.06.24...

LIMITED Quantity. Deep dive into the realm of electro music. Hypnotic multi-layered baselines, unpredicted drops and bursting beats would make precise, nevertheless not full definition of this EP. Following the
debut of the sequel with an exhibition showcasing artwork’s creation and conceptualization, we face SEQ002: False Destination, a new chapter where the story continues in an unexpected way. It holds the question, to which unknown territory did the agent headed from his collapsed dimention? – Side A takes you on a journey that echoes the spirit of interdimensional travel, a recurring theme in electro music. Impact One throws you into a captivating sonic environment, grabbing your attention with distinct sonic events, all layered over a foundation of subtly shifting rhythmic patterns. A2 is another mention of wrong dimention, hard alterations on early 90s Rave revivalism with peculiar artifacts and touch of blue note with breakbeat burst out conclusion. –
On the flip, a couple of heavyweights. Thick kicks jumping from 4 tothe-floor to broken beat, uncertain breakdowns and unexpected amen breaks driving audience on the edge. Hypnotic bassline for B1 was characterized as Giorgio Moroder on steroids. Last track is a calm blend in ending on a hybrid cosmic breaks combined with Yamaha DX7. – ABOUT ARTWORK This time comic-like backside artwork has an insert accompaniment to immerse within the world created by the artist behind the record. AI has been used to create artwork, generating imagery as a way to bring ideas to life. It offers a cryptic clue, a fragmented piece of the puzzle that complements the music to tell the story

"Two-pronged, remix attacks don't come much more exciting and potent than this... as here - thanks to our good friends at Nervous NYC - we're beyond hyped to bring you the legendary Masters At Work and Dave Lee on one single, fully weaponised package.

Putting their own, inimitable spins on Louie Vega's ˙Music Is My Life˙ - which features the unique talents of Unlimited Touch - we're treated to a pair of wonderfully complimentary, but no less idiosyncratic re-rubs from these two stalwarts of the scene.

With a production hand and artistic touch like no other - Masters At Work lead the way here, with their main remix. Characterised by that trademark looseness and deliciously warm, organic approach - their rework is awash with woozy psychedelia and layered so expertly, that getting lost in the music is both gloriously simple and an absolute pleasure. But no true Vega & Dope remix suite, would be complete without a bonafide Dub version. And for ˙Music Is My Life˙ - this sees the dynamite duo take proceedings down a distinctly more mesmeric and mood-laden path… one where the vocal is instead used as a powerful rhythmic weapon, and the star of the show, is a surreptitiously morphing and shape-shifting, delicately acid-laced synth lead.

Next up - having recently switched his attentions to productions under his own namesake - is Z Records' head honcho, Dave Lee. Snapping into life with its crisp and punchy drum work - what Lee's remix does share with that of the Masters is in the over-arching, tripped-out haze which douses proceedings. However - where his remix opts to stick its head well and truly above the parapit, is in it stylistic flavouring. As when it comes to slicing that genre cake, so to split the worlds of Disco and House perfectly down the middle - there's simply no one who does it finer.”

'Matriarchy' is a rebirth for the celebrated, multi- faceted artist, as girli further explores her sound and takes the reins with full creative control, truly cementing her place as a cult figure and ambassador for the next gen of LGBTQIA+ music.

girli's passions have always migrated beyond music and she continues to use her platform to ignite conversations around feminism, sexuality, identity and mental health, opening up topics that most have always shied away from. Representation matters more so now than ever, and girli is ready to rewrite the rules.

Our eighth chapter of Small Great Things is introduced by our resident, David Silver. The limited vinyl and digital release, titled the 'My Japanese Friend EP,' features four exquisite original tracks. This EP seamlessly blends deep and classic house vibes with contemporary beats, ensuring a refreshing dance floor experience.

Starting with the A1 side, 'Trademark' initiates the journey with a solid house groove complemented by stabs and a robust bassline. Transitioning to the A2 track, the title piece 'My Japanese Friend' assumes center stage with its infectious groovy bassline, piano chords, and captivating drums, enveloped by ambient jazzy melodies.

Turning over to the B side, we encounter two more enticing house compositions. On B1, David's 'U Move' delivers a fresh, dance floor-ready cut, featuring vocals and guitars. B2 takes the spotlight with 'Peace & Low,' a finely crafted deep house gem.

Repress

Cinthie Christl is a powerhouse of a DJ, producer, label manager, record store owner and all-round house music aficionado. Shall Not Fade is excited to announce Cinthie is joining the family to mark the 60th release on the label. Free Fall EP shows off the German polymath's expansive musical knowledge, developed through decades of spinning vinyl.

The 4-tracker kicks off with "Offenbach Anthem" bounces along with a varied post-disco inspired beat and oh-so-deep bassline that strikes against the aerated chords of the melody. Dramatic strings add to the disco flavour, the fluid and glittery opener cruises into the tight, 4-to-the-floor business and stuttering stabs of "13 Steps To Heaven".

Rave energy takes over on "Oh No No No"; organ takes centre stage blending with crooning diva vocalisations - releasing the tension of the last track into an overflow of euphoria. "What You Mean To Me" closes the EP with a slice of the super-smooth classic house that Cinthie is known for; infectious grooves and perfect lulls forming a triumphant end to the record.

In 2021, we welcomed Endrik Schroeder to the Bordello family with his Second Breath 12”. The memorable hooks and attention to detail that characterised his first appearance run deep in his latest. The Hope sees the French producer accompanied by a true legend of electronics, Caroline Hervé aka Kittin. Hervé’s penchant for combining brighter tones with darker shades is evident from the needle. Industrial hiss pierces swirling vocals. Clean claps, warm bass and crystalline chords give way to woe-streaked lyrics, lyrics that ascend into an arc of pulsating synthwave pain. Schroeder takes the reins on the flip. A beam of light is cast over throbbing arpeggios and a slicing snare, notes drifting ever higher as “The Dogs” takes hold. Strings swim as a spread of sounds grow, a palpable energy building under Schroeder’s watchful ear and hand in this seven minute plus odyssey into his

"The warmth of fire and the whisper of water, the magic of wind and the trembling of the earth, the melody of peace and silence to revive soul and body" – said the Queen and closed the portal behind the travellers.

On the summit of the Astral Cliff there was the long-forgotten DP-6 shuttlecraft of the Kwansi pirates. Corrosion on the hull plating had almost completely taken over the paint, which only occasionally peeked through between dense clusters of fluorescent bryophytes. The vines and wires dangling from the stern provided a perfect living dome for the lively Sivinerian millipedes goofing around on the runes engraved on the ship. The sweet scent of exotic flora created an ethereal glow. A giant stingray floated gracefully across the celestial kaleidoscope. Each flap of its shining wings gave the impression of time slowing down. One could be absorbed by this grace and lightness for hours, immersing oneself in the world of aesthetics and harmony that ufolded before the observers’ eyes while they were enveloped in the calming embrace of the gravitational massage chairs.

– Sea Devil – what an appropriate name for such a majestic creature.
– That's right, Cat... A true manifestation of multielements in all their splendour!

Despite recent speculation and curious confirmations of an association with the pivotal Production House from those close to the source, the identity of those behind this mysteriously initialled 1991 breakbeat hardcore banger has remained a closely guarded secret for over thirty years. Despite not having a follow-up and not benefitting from the hype of big name credentials to justify inflated asking prices it has remained in high demand for over three decades as a constant in informed record bags and on discerning wantlists. It will come as little surprise to many then to find out that it is in fact the work of none other than House Crew stalwarts Floyd Dyce and MC Juice. The missing jewel in Dyce’s Production House crown, this sole FZ outing was released on one of a handful of short-lived Production House sub-labels that served as platforms for Dyce’s prodigious output, and can now take its rightful place alongside his other production and writing credits with the likes of Acen, The House Crew, Brothers Grimm, DMS and Baby D. Available once again on 12” black vinyl and licensed with the full-cooperation of Dyce himself it has been faithfully remastered from the original studio source material with the lacquer cut by Beau Thomas.

DJ Support: Jamie Jones, Reboot, Dennis Cruz, Raresh, Reelow, Dimmish, Fabe, Archie Hamilton, Rich NxT, Chicks Luv Us, Christian Burkhardt, Terry Francis.

This EP is inspired by love and dreams and continues her quest to find the perfect blend of emotional yet minimal melodic beats. Opener 'L'Amour' radiates Lazic's signature sounds with a slick bassline and melodic chords that convey meaningful emotions under female spoken words. It's a seductive world of warm pads and silky beats that cast a hypnotic spell. The fantastic 'Todo El Universo' features the vocals of Lazic's Spanish friend Monica. The title translates as 'all the universe' and is a favourite line from Paulo Coelho's novel The Alchemist about accomplishing your dreams. It's a deep and comforting groove with soft drums and pillowy pads that soothe the soul and are perfect for more intimate dance floors.
Remixer Nu Eau is a pivotal part of Romania's minimal scene with a meticulously crafted sound that has taken him to the likes of Gettraum and Memoria Recordings and he also co-founded the Uvar imprint. His version of ‘L'Amour' is more up tempo but no less heady, with lush cosmic synths doing an elegant dance over the compelling beats.

Spanish pair Los Suruba have done it all over the last 20 years - released hundreds of tracks, played thousands of gigs, established their own network of record labels, held residencies everywhere from Ibiza to London and crafted countless underground hits. Their remix of ‘L'Amour' is serene and cerebral with paranoid voices drifting through the mix and rippling chords keeping you afloat in the cosmos.

Having plied his trade around the world for more than three decades, German guitarist, bandleader and musical explorer Jan Whitefield has always instilled in his craft a natural aesthetic of authenticity, a key component which has seen him amass a sizeable and varied catalogue of material which has remained timeless where some of his contemporaries have faded away.

In the early 90s, as various UK bands were signed up by sizeable labels and enjoyed even mainstream chart success in the Acid Jazz and rare groove boom, Jan and his brother Max formed the Poets Of Rhythm, self-releasing their own uncompromisingly hard-edged take on 70s street funk on the then completely unfashionable 7" single format, forerunning the Deep Funk scene by almost a decade. 30 years on, in spite of a legion of retro-focused bands having followed in their wake, few have yet to come close to matching the energy and spirit of those early Poets 45s.

Since then, Jan has applied himself to all manner of new incarnations and innovative side-projects, releasing further funk surveys as the Whitefield Brothers before leading his own band under the pseudonym Karl Hector, with releases on labels such as Stones Throw, Daptone, Ninja Tune, Mo'Wax, Strut and more. An avid music lover, explorer and record collector extraordinaire, Whitefield's music has effortlessly absorbed his expanding interests along the way, particularly drawing influence from Ethiopian Jazz and West African funk and highlife, as well as Kraut-rock and ambient via his Rodinia alter-ego.

More recently, Whitefield has begun to venture into the astral planes of what's now commonly referred to as 'spiritual jazz', and this is very much where we find him manifesting on 'The Infinity Of Nothingness'. A set of mature, delicate and meditative orchestrations, like much of Whitefield's best work the album is studiously true to its key influences - and in this instance the twin figureheads of Sun Ra and Pharoah Sanders are particularly preeminent - but also completely avoids falling into a trap of mere tribute or facsimile. With subtle yet diverse accents of Hip Hop, Library and the Avant Garde appearing wholly unobtrusively, the album is unified by a marked trance-like feel, beginning with the sparse, processional opener 'Nothingness' through to the 3 part 'Infinity Suite' of 'Time', 'Space' and 'Energy'.

As he did as a schoolboy with the Poets of Rhythm, with 'The Infinity Of Nothingness' Whitefield achieves that exceptionally rare feat of creating music that is not only worthy of sitting alongside that of his overarching influences, but will also stand up with it against the tests of time.

Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.

"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz

Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.

Cameleon Records open their vinyl series with a powerful 3-track EP provided by its very owner, Oros. After his first appearance on We Are FTR last year, he wasted no time and launched his own label. On this EP he provides two signature tracks of his own, yet different in style, combining a deep, meditative state with a solid groove to shake the dancefloor. The remix comes from the talented Paul Walter, a figure we all got used to lately, seeing his productions being released on labels such as Pressure Traxx and his very own Meduka. Here he takes over the remix and delivers a bold reinterpretation that best describes his craft.

Airtime Records returns with the latest installment of its vinyl-only series, featuring the incredibly talented artist Tommy Chikara and a remix by Just Jam.

The A-side kicks off with "Input", where Tommy Chikara wastes no time unleashing a barrage of garage beats and hypnotic stabs. Layering up rock-solid kicks and steel-sharpened hi-hats, he creates an energetic rave-up that will leave you breathless. Next up, "Output" takes the intensity to another level with its electrifying exploration of sound, captivating listeners with its irresistible groove and infectious bassline.

Flipping over to the B-side, Chikara presents "Make The Thing", a testament to his unparalleled creativity and innovation. With its dreamy melodies and energetic rhythm, this track is to set the tone in the late night scenes. To top of the release, Just Jam delivers a stunning remix of "Input", adding depth and complexity to the original track while retaining its essence.

These tracks have already left an indelible mark on dancefloors around the world, with support from artists like Chris Stussy and Enzo Siragusa.

Limited run, Vinyl Only.

2024 repress.

Ever dreamed to travel to Trinidad & Tobago? Disco Segreta makes this dream come true with it’s 6th release: the much awaited officially licensed reissue of this tropicalo-disco synth bass boogie atomic bomb, from the original analog masters.

Written in late 1983 by Mario Baldoni aka Miro of “Real Life Games” LP (1977) and Brina’s “Stranamore” (1984) fame. Originally released in July 1984 on the small Pineapple label – a sublabel of Armando Sciascia’s “Vedette” – with close to no success and a pressing fault: a glitch on the vocal version, that affected all copies.

This tropical summerish blend of italo and boogie, along with the male/female alternate spanish/english singing, turned into a true classic of the genre over the years, slowly making the playlists of the most respected DJs and diggers worldwide. The 4-tracks 12″ features the original vocal and instrumental versions in their original length, carefully dubbed from the analog stereo masters and taken back to new life through Disco Segreta’s usual respectful mastering. Also, two new remixes are featured.

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

With releases that have been heavily rooted in Glasgow's Southside, Full Dose take things international for the next release and invite Jamaican dancehall artist I Jahbar (SKRS, Duppy Gun) to showcase their talents over two versatile Brollachan productions.

Smokin' is a celebration of marijuana in the truest sense, with I Jahbar's potent delivery perfectly connecting to the bouncy dance floor riddim.

UFO is an altogether different prospect, the spaced out percussive production serves as a blank canvas for I Jahbar to make a call for peace, unity and love to overpower the corrupt forces at large here in 2023.

To close on either side are dubbed out, free-form remixes from Lvchessi, Full Dose's brother in sound."

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

A veteran of the great Malian orchestra, the Super Biton de Ségou, Mama Sissoko is an accomplished musician. His music traverses Mandingo, Bambara, Sarakolé, Songhai, Bobo, Peul, Malinke and Bozo traditions, all while flirting with jazz. On stage, Mama Sissoko is a purist who engages with the audience bringing his energy, urgent vocals and truly inspired guitar solos throughout the concert. ‘Live' brings together recordings from a concert given in Paris at La Villette in 1998 and takes us back to a high point in Mama Sissoko's career.

In ‘Live’, we find tracks from Mama Sissoko's second solo album 'Soleil de Minuit', which was released in 1999 by Buda Music. As on the album, the different guitars overlap without compromising the unity of the music, rendering an earthy atmosphere despite being very complex. The recording of this concert was superb. We can hear every note, every nuance, every instrument and voice in the many-layered compositions.

As on the album ‘Soleil de Minuit’, this live recording opens the session with ‘Diarabi’, followed by ‘Safiatou’. Both are up-tempo love songs in which Mama Sissoko's powerful voice sings with all of the passion that such love songs deserve over a clean rhythm driven by the percussion of several guitars. The heavy bassline of ‘Safiatou’ adds to the urgency of the song. After these two beautiful renditions, the energy continues with the guitar-driven ’Fisiriwale’ and then a surprisingly original version of Super Biton’s famous song, ‘Iri’. We are then treated to a lively version of his ‘Soleil de Minuit’, called out by the artist as a ‘salsa Africana’ with a shout out given to Cuban salsa mid-way through when he calls the song ‘El Sol de Medianoche’ in perfect Spanish.
Throughout this concert, Mama Sissoko’s deep and melodic voice seems to emanate effortlessly from his body and soul. Multiple guitars back up his signature solos adding depth to the music that harkens back to the traditional music of Mali. Perfect examples of this are given in the songs ‘Douga’, ‘Manssane’ and ‘Hommage a K’. The last song, before a rousing second version of ‘Soleil de Minuit’, is ‘Boma Ma’, a truly modern rendition of a traditional Malian hunters’ song with multiple guitars, shakers, lively djembe and an outstanding vocal duet with Toussaint Sainé, Mama Sissoko’s long time musical collaborator.

Accompanied by incredible musicians, including Toussaint Sainé, his partner in the Super Biton orchestra, "Live" plays in the timeless way of Malian music. What's more, it gives us the gift of its most direct and powerful dimension, that of live music, as if 20 years hadn't passed.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shop of the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

Repress!

Early ‘80s boogie business from De De, ‘S & M (Sexy Music)’, gets a much-deserved, official reissue. OG copies regularly trade hands for £30+ so it’s high time this sweet sexiness found its way out of more sound systems.

With a title like ‘S&M (Sexy Music)’ it was only ever going to be a sleazy, sexy, synthy heater, drenched in tantalising keys, spacey arps, funk guitars and salacious vocals. And with the production prowess of George Kerr & Reggie Griffin behind it - who produced, wrote and arranged for the likes of The O’Jays, Treacherous Three, The Whatnauts and Patti Labelle to name only a handful – it had certified party starter written all over it!

Two mixes take either side of this full frontal 12 inch. The A side houses the ‘Rated G’ mix, where layered vocals trade off from male to female and sleazed up saxes parade through the later stages as that short but sweet rap rolls around. The B side’s ‘Rated X’ mix adds even steamier verses with ever more female power behind them and extra unadulterated, squelching bass into the pot.

Sensuous offerings from De De that will get any crowd crying out for more.