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There’s something to be said for getting noticed, for standing out from the crowd. West London’s T.Williams is one of those people, having accomplished a full sweep of merited recognition over the years. Emerging onto the house scene in 2010, T.Williams instantly marked himself as a breakthrough artist with a difference; his unique take on house music turning heads.

Far from a newcomer, his path as a musical artist started in the grime scene as Dread.D. Signed at the tender age of 17 with grime anthem Invasion on Jon E Cash’s Black Ops label, Williams went on to have mass success in the grime and bass world selling thousands of singles worldwide. After a five-year reign, Williams found himself veering towards the world of house music. With a new found love for the sound and its sub-genres, T.Williams forged a signature sound influenced by his grime days, jungle, and garage. With a style that undoubtedly impacts, T.Williams’ crossover has been the catalyst for his success. Not only rife with groove and feeling but meticulously produced and engineered with deep rumbling basslines, the unapologetic bounce of grime and smooth vocals that bleed through African infused percussion work.

While in 2010 the industry took note when hit record ‘Heartbeat’ featuring vocalist Terri Walker made an impression, it was throughout 2011 that T.Williams defined himself - releasing solo works on his imprint Local Action and Pattern with remixes for Maya Jane Coles, Ben Westbeech and Skream. Not stopping at pricking the ears of fellow artists and those on the dancefloor, the end of 2011 saw Williams nominated for ‘Best Breakthrough DJ’ by DJ Mag, ‘DJ Stars of 2012’ by Time Out and featured in The Guardian.

Two relationships came to the forefront in 2012 that propelled Williams to greater heights. The first was his weekly show on legendary London station, Rinse FM and the second, Williams’ relationship with label PMR through his remix of Javeon McCarthy’s ‘Lost Time’. The remix was named Record of the Week by BBC Radio 1 and supported by tastemakers Annie Mac and Fearne Cotton. From here T. signed to the label exclusively releasing his debut EP for the label in September 2012, and in the process receiving further support from BBC Radio 1. Further remixes of Mikky Ekko, Wretch 32 and Lianne La Havas followed suit, as well as his biggest to date - Disclosure’s ‘Latch’. Powering dancefloors across the globe, T. went on to play three US tours, numerous festival stages, and deliver a second EP on PMR titled ‘Feelings Within’. The EP once again spanned a number of bases, from club bangers to heartfelt vocal driven tracks alike. Gaining his own monthly residency show with BBC Radio 1, 2013 ended with T. having played over 100 shows across four continents.

2017 marked the launch and release of the first collaborative EP with UK producer Julio Bashmore, via their joint independent Conch Records, a label aiming to push out more underground cross-genre music with heavy rotation from the likes of Moxie and Shy One. With an ever-expanding global tour schedule and further solo releases on the legendary NYC house label Strictly Rhythm turning heads, T.’s upward trajectory has never showed signs of slowing down. Selected to soundtrack the social media campaign for boxer Anthony Joshua in 2019 and now using his technical prowess as a musician to educate the next generation of rising stars at London’s respected Point Blank Music School has cemented his status as one of the UK music scene’s key players.

A collaboration between Cosmocities & Japanese label Unknown Season, fusing some of their biggest releases from the last 10 years on one piece of vinyl.

Remixes come from Jimpster whose Beatless Reprise is exclusive to this release, Nick Holder & KEENE.

Limited Pressing act fast.

Atom's first release for 2024 is a 3 track vinyl from label head Micropulse.

A1 / Micropulse - Midnight (160bpm, 45rpm)
Midnight serves up haunting voices over a stripped back and souped up 90s hard trance bassline at 164bpm.

B1 / Micropulse - Doesn't Matter feat. Ella (140bpm, 33rpm)
Doesn't Matter marks Micropulse's first experimentation at a lower BPM, with B1 at 140bpm featuring a short melancholic vocal hook from Ella Brown.

B2 / Micropulse - Entry (164bpm, 33rpm)
Entry retains the experimental style of earlier Atom releases and keeps melancholic but raises the tension with acid interspersed with muted plucks, pulses, and gated pads.

There will be an additional 50 "Collector's edition" copies available through the Atom website direct that include the new Atom label jacket inside a full artwork sleeve with a vinyl backed sticker.

"It's great to have reached Atom's 15th vinyl, thank you all for your continued support".

A 5-track VA 12-inch record, featuring music from Olsvangèr, MYKI, Mo.huv, Tingz, Asphalt DJ and Gzardin.
“Ten” expands the label’s rave-dance nostalgic approach to wider realms of ecstatic electronic soundscapes.
The

A1 features Olsvangèr with a galloping-yet deep and groove-heavy house gem, followed by Asphalt DJ & Gzardin on A2 with a pure ravey belter!


A3 Belongs to MYKI with a deep and hypnotic house cut.
B1 Is by Tingz & Mo.huv, a dirty galloping breaky track, bass-heavy, with some ghetto vocals and distorted darbukas.
B2 by DJ Headshot on a downtempo after hours trippy twist.


RTR debuts on UTTU with 4 tracks of IDM infused emotional house music - having turned heads on Analogical Force and WEME - here we are treated to a more laid back club focused EP for both heads and feet”

A compilation of Hearn Gadbois' tracks, published here and there along the years (1983- 2020). Most of them are home recordings with very little or no diffusion, so this release tries to shed some light on these amazing compositions. A sound related to Hassell's 4th world, but developed in a very personal way (he even designs & makes some of his instruments) that feels different and goes far beyond. Using mostly acoustic instruments, Hearn combines a love of traditional trance/ecstatic rhythms with the sensibilities of an outsider artist, creating a music that is both archaic and post-modern. A really original and rare work, difficult to classify or explain... In Hearn's own words, included in the liner notes:
"The pieces compiled here tend to fall, with some overlap, into a few broad categories as near as I can tell: Mystery Psychedelic Crime Jazz (Tuba City, Flesh of the Spirit), Ayahuasca Hut Bachelor Pad Music (Night, Take the Waters, Wood), or Party Music that just fell from the sky or bubbled up through a crack in the earth (Flown Home, What the Goatherd Heard)"

As a percussionist, composer for dance and film, instrument designer/ builder, session musician and teacher, Gadbois worked with Meredith Monk, Sussan Deyhim, Gabrielle Roth, Yoko Ono, Patti Smith, Suzanne Vega, The Master Musicians of Jajouka, and Wim Wenders, to name but a few.

Jackie Mittoo is one of the most important artists in the history of Jamaican music. As founding member of the legendary Skatalites, as in-house arranger/producer at Studio One and as a solo artist in his own right leading groups such as The Soul Brothers, Sound Dimension and Soul Vendors.

These classic and rare recordings were made in the mid 1960's at Studio One. The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady.

The previous era of Ska had been dominated by the Skatalites, the first in-house band at Studio One who created classic hits such as "Guns of Navaronne", "Man in the Street", "El Pussy Cat" and many more. Unfortunately the strong personalities in the group meant that The Skatalites stayed together for less than two years. It was also around this time that the mentally unwell Don Drummond was arrested for the murder of his girlfriend, the dancer Margerita.

In August 1965, barely a week after the demise of the original Skatalites, The Soul Brothers (featuring ex-Skatalites members Jackie Mittoo, Roland Alphonso, Johnny Moore and Lloyd Brevitt) were up and running as the new house band at Studio One.

The Soul Brothers were essentially a collective, releasing material under their own name or under a nominal leader (usually Jackie Mittoo or Rolando Alphonso). The group line-up changed over time with Bobby Ellis (trumpet), Bryan Atkinson (bass), Dennis Campbell (Sax), Harry Haughton (guitarist) and Joe Isaacs (drummer) replacing various members alongside the ever present Jackie Mittoo.

REVIEWS

"Jackie Mittoo was a true star of Jamaican music; a founder member of The Skatalites, a prolific composer and the keyboard powerhouse behind many a classic tune. His simple, often hypnotic approach, to ska, rocksteady and reggae made him one of the most distinctive sounding musicians of the era." BBC.

"Jackie Mittoo was one of the great names in Jamaican music, manning the keyboards for the Skatalites, the Soul Vendors, and Sound Dimension-- three of the greatest house bands of the 60's
(and I mean anywhere, not just in Jamaica)." PITCHFORK.

Over the past few years, we have strengthened our ties with photographers to showcase music we stand for.

Art Curation is deeply rooted in Délicieuse’s DNA. It all started with our Youtube channel where we have been showcasing the music we love for 10 years now. Parallel to music curation, our curiosity and appeal for aesthetic imagery brought us to enhance the music with photographs, illustrations or cinematic scenes. As a result, our Youtube channel has been the laboratory of our collaborations with photographers from all horizons such as Yosigo, Victor Costa or George Natsioulis.

Following that path, the Chambre Noire Compilation tends to expand the synergy between music & imagery. The idea is to highlight a photographer’s work & make the compilation a gallery in itself. For this first episode we are collaborating with Yosigo, a well established photographer from Barcelona. The art direction and graphic design side is imagined in collaboration with Brazilian art director Hermes Miranda.

The compilation contains 12 exclusive tracks released digitally and physically across a double vinyl edition. The physical edition includes an A6 photo booklet aiming to highlight Yosigo’s work while exploring the compilation concept.

Musically speaking the compilation follows Délicieuse’s travels and features a blend of established & emerging artists from all over the globe featuring the likes of Tell, Domenique Dumont, Fertita, Logh, BowAsWell, Pool Boy, Scissorwork, Jesper Ryom, Marvin Horsch, Jah One, Brothers of Eternal Love, and Golf Trip oscillating between Balearic, Deep House, Electronica, Electro & Indie Pop.

Get ready for an immersive and captivating musical experience with Chambre Noire.

Prophecy, whose previous releases were received to great acclaim, returns with a new EP produced by the label head honcho Elias the Prophet. This time treating you to four original tracks and a stunning remix by Tensal:

"Creatures" could be described as a walk through the forest, but it's getting dark and thousands of eyes are watching you as you get lost in the thick undergrowth. As panic sets in and dark thoughts take over, you start running towards an uncertain fate!

On his remix of "Creatures", the one and only Tensal has masterfully blended powerful beats, eerie voices and pads from the original with his own frenetic synths, creating absolute chaos and madness!

More uneasy vibes with "Exorcism", as supernatural synth layers and Gregorian chants ride above hard percussion, if Satanists listened to techno (some probably do), this would be their jam!

The Keeper is an ideal dj tool, with its broken beat and ferocious FX it creates an unstoppable momentum that will destroy dance floors!

As a finishing touch, "Crime scene" paints a bleak picture of a dystopian future, warping FX and synths to infinity and beyond.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

L+P-2 is Rivet's second album following his acclaimed debut, On Feather and Wire, released on Editions Mego in 2020. The wheels were already in motion for a subsequent album on the same label, but tragedy struck. Peter "Pita" Rehberg, the legendary owner of Editions Mego, suddenly passed away at only 53 years old, leaving the experimental electronic music community in a state of pitch-black grief. Rivet was among the many deeply affected by this loss. The inspiration and support from Rehberg had propelled Rivet to create at a level he himself was uncertain he had mastered. For Rivet, Rehberg's death felt like the death of music.

However, that brooding sentiment was abruptly shattered when Rivet's beloved dog and companion, Lilo, was diagnosed with incurable cancer just a couple of months later. They were inseparable, and now they would be separated nonetheless. The only way Rivet could cope with this double blow was to compose—for Lilo, for Pita, for his own sanity. L+P-2 is the result.

While the album naturally emerges from a place of despair, it's remarkably comforting. Partly, this stems from Rivet's singular ability to make machines not only sound human but also act human—sincere and warm, yet flawed. In more than one track on L+P-2, you'll encounter a distinctive melody and a gnarly bassline dancing hand in hand with Rivet's eccentric and captivating drum patterns. Then, seemingly on a whim, the melody takes off on its own, leaving the faithful bassline behind—much like a dear friend that suddenly vanishes from your life without warning. Yet life goes on, and so does the music. But never unchanged. Never.

L+P-2 is an album of lamentation, yet also of resolve—a dedication to those who go through life losing more than their share because they always carry too much.

Guachinche Records is a label that has taken on board the best of the Andalusia and Tenerife breakbeat scenes. Led by the experienced groups Mutantbreakz and Bubble Couple, the label is known for its good taste, variety and good judgement when it comes to selecting the music that makes up its catalogue. All those years experience of broken beats have inevitably led to the release of this brilliant GUACH001 The label first vinyl offering is a compilation album that offers a perfect summation of its essence and quality.

The record opens with a sure-fire hit by the legendary Rasco, who, together with Bubble Couple, has created Old Groove. Featuring piano and the kind of baselines to stick in the memory and make your hair stand on end, it's a track that many of you have been waiting to get hold of in vinyl format. The trip continues in the hands of Suga 7, who offers a true taste of the Canary Islands on his classy track Hideaway, a sheer delight with the high tempos and playful basses so beloved of the Islanders.

We then move on to the B-side, which features an absolute gem of a sound by the duo Mutantbreakz. A musically elaborate track with quality touches and passages of guitar, piano and vocals, it grabs you right from the start of a sonic trip that will prepare you for the final denouement Raverman brings things to a close with the epic Sayonora and a slice of acid electro-trance. This striking ending rounds off the kind of record that doesn't come along every day.

Mastered by Simon Davey at the Exchange Vinyl in London.

Ten years JEAHMON! - this is why we celebrate this decade for our imprint with our roots: A jubilee pressing on 12” vinyl. Remember how it all started back in 2013: With a hand painted full cover vinyl series. The crazy fishes from back in the days are still here! Ten years later Marc DePulse's imprint developed to the Top 5 leading Indie Dance labels on the planet – with over 80 releases and a lot of chartbreakers during the years. This vinyl represents a little family showcase with homie artists that built the brand over the past few years and who are an important face for JEAHMON! these days. Just to name a few of course – there are still so many other representive artists that made our imprint becoming so big and successful.

The interstellar cosmonauts of Staatseinde create a theatrical mix of pulsing electro with nostalgic hopeful synthlines, all performed live with synthesizers, a sequencer and tantalizing vocals. From Wave to EBM, from NDW to Punk and everything else in and out of the box. It is like walking into a club meeting Kraftwerk on speed and The Sex Pistols on acid.

Their new release “De Nieuwe Golf” is characterized by dystopian prospects and hopeful sounds, confirming Staatseinde’s name as the founder of the “Neue Niederländische Welle”, in other words the New Dutch Wave.

The uplifting italo rifs in opening track “Grauw” take you on a journey through a gray world in which color cannot be taken for granted. Minimal wave track “Einzelganger” makes you feel like an outsider who can’t keep up with society. “Geef Me De Tijd” sounds like a schizophrenic dreamer swinging casually, but ending as a hard hitting track. Dystopian doom and pessimism is captured in EBM/techno floor filler “Doembeelden”. The raw West Coast Sound of Holland infused “La Haya” is a tribute to the city of The Hague which calls out on everybody to get wasted. The epic ode to space travel “Ruimtevaart Vooruit (2022 Refix)” is back in a rendition inspired by Rude66’s 2010 remix version. “Isla Inutile” is a dark and tropical delirium. In the hopeful “Alles is Weg”, Staatseinde takes you from the downfall on the way to…?

Staatseinde’s “De Nieuwe Golf” holds up a mirror to humanity…progress has not helped us any further. There is hope…but will this new wave be on time? Or is it already too late?

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

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

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

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


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