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Following on La Bella Di Notte is a repress we are very proud of. Zero Origin, one of Nathanael Heres' monikers, techno music geek, and producer plus headliners behind Urban Sound Of Amsterdam, as well as the owner himself of Upcult Records, a tight but super sharp label from the mid-nineties, born in the backstreets of the Dutch capital. The original record here is "New Life".

Last on the market as Zero Origin, but perhaps the finest on his chest. Three exciting tracks chase each other in a rhythmic crescendo and increasingly hypnotic decorations are ready to set on fire both the main room of bigger clubs and intimate dance floors of a smoky underground party.

Forbidden to sleep.

The greatest hits of the 1960s and 1970s are now available on the „Golden Chart Hits of 60er & 70er Jahre“ vinyl compilation.

Enjoy 14 hits being still unforgettable up to the present day and played daily on numerous radio stations around the globe, including Top 10 hits such as Secret Service „Ten O‘Clock Postman“, Patrick Hernandez „Born To Be Alive“ or Kool & The Gang „Ladies Night“. An absolute must for all fans of 60s and 70s music!

Kerri Chandler’s Kaoz Theory welcomes the return of Dj Steaw in January 2024 with his ‘Get Back To The Fonk’ EP.

Parisian House stalwart Dj Steaw has grown to become a widely respected figure in the field of
raw, underground, classic House over the past decade, racking up releases on many leading
imprints of the genre such as Hot Haus, Meta, Local Talk, Step and Phonogramme as well as his
own Steaward, Rutilance and House Puff. Here though he returns to Kaoz Theory following the
success of his ‘Colour Of Mind’ EP in 2022.

Title-cut ‘Get Back To The Fonk’ opens and sees Dj Steaw lay down a jazzy keys and stab
sequences, a bouncy bass line and heavily swung drums alongside an amalgamation of spoken
word vocals and chants. ‘Don’t Stop’ follows next and shift focus into deeper realms with warm,
fluttering chords, swaying subs and airy strings running atop of a robust rhythm.
‘In My Body’s House’ is up next to open the B-side, embracing a true House feel this time through
the use of organic piano melodies, sax licks and organ lines intertwined with a bumpy bass hook
and dubbed out vocal effects. ‘Grey Matter’ then concludes the original material, focusing on
multilayered dreamy keys, resonant flutters and skippy percussion.

Toolroom provide the hotly anticipated return of renowned Glaswegian artist KC Lights, as he delivers yet another classic record in the making – 'Better Times', featuring the stunning voice of Merseyside-hailing Låpsley. A debut collaboration for the pair, as they drop a sweet cut of Disco infused House that will undoubtedly soundtrack the year. A label favourite in every sense of the word, KC Lights is most-known for his 2020 smash-hit 'Girl', a record you couldn't switch off from throughout that summer, followed up by his classy cut 'Cold Light' the following year with reputable vocalist and songwriter Leo Stannard, who also appeared on his summertime anthem 'Daydreamer'. If there's one thing KC Lights can do time and time again, it's writing infectiously catchy, timeless records that you'll hear almost anywhere you go, from underground clubs to radio stations and beyond. Featuring on the record is critically acclaimed vocalist and songwriter Låpsley, who rose to fame back in 2016 with her debut LP 'The Long Way Home' on the legendary XL Recordings. Of course, you can't forget DJ Koze's massive disco edit of 'Operator', which shot Låpsley through the stratosphere. With a string of huge hits and a voice to match, KC Lights and Låpsley come together on 'Better Times', offering three different mixes for this exclusive vinyl package.

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris

Marina Herlop is often described as a pianist, a lingering remnant of her classical training. But what strikes the listener on Herlop’s breakout track miu is the intricate trickery of her voice, tracing rhythmical clusters around the subtlest of musical beds, in a technique inspired by Carnatic music of Southern India.

miu, the opening track of Herlop’s new studio album Pripyat, was among the first songs that the young Catalan artist made on a computer, after two albums – 2016’s Nanook and 2018’s Babasha – that brought spectral elegance to the sound of piano and voice. This spirit of adventure continues into Pripyat, Herlop’s first full album produced on a computer, and her most intensely emotional work to date.

Listening to Pripyat you can feel the emotional toil and creative endeavour that went into the record. Fans of Nanook and Babasha will recognise the combination of melancholic piano and elegant vocal lines that is found on Pripyat tracks like abans abans. But Pripyat has a far fuller, almost chaotic sound when compared to Herlop’s previous work, with the addition of electronic drums, electric bass lines and a wealth of sublime production effects.

AI-36 comes from Ear to Ear - the debut collaboration between label regular Samuel van Dijk (Multicast Dynamics) and Ukrainian artist Yevgen Chebotarenko. Taken from a series of live recording sessions, the album explores in four parts a markedly darker realm of soundscape music. A cornucopia of abstract morphing scenes and heady synesthesia, the album brims with rich sonic detail and evocative gestures. Deftly blending organic sound textures with an experimental austerity, ‘Live Recordings’ displays potent and accomplished storytelling.

The album opens to a grey overcast vista, a natural landscape that slowly melts into a descending chasmic dysphoria. The mood transitions to a drone-based piece on the B-side, characterised by a more psychologically suspenseful framework and exotic blend of sound design. The atmosphere lightens, yet equally pensive as side C takes on a more elemental form, invoking water and its array of microbial and metabolic ecosystems. Brief cathartic moments in the final section pave the way for deeper wayfaring on the D-side. Stray signals and unknowable artefacts skitter across a vast subaqueous domain, a fathomless womb of potentialities that ebbs into eternity.

Renegade Methodz presents its various artists 'Breaking Standards' series.

Making its debut with the first edition the four track release is serving as a reflection of modern techno by introducing tracks from artists that are appearing in the label for the very first time as well as a familiar contributor that is making his return.

The Breaking Standards series aims directly at the dance-floor, curated carefully to keep the music quality high and showcase the work of new and established artists that with their style are keeping the genre modern and fresh without losing the essence of what makes this music timeless.

This is a special cassette tape version of the recent album from zake, one of ambient's most prolific artists, alongside From Overseas on his own Past Inside The Present label. As always it is an almost impossibly deep ambient selection that once again finds him exploring fresh and always emotionally moving musical territory. Demain Des L'aube features eight tunes that convey real melancholia and have a gently persuasive sense of movement. Each one is vast in scale and sweeps you up and sinks you into the grainy lo-fi pads, wispy melodies and distant string-based sombreness.

Marino Scarabelli, the creator of unforgettable progressions in “Are You Loving” and “Love In A Summer Night”, so characteristic and unique that can still give us goosebumps, sat down in the studio again and composed another italo banger. Traditionally, he was joined by Stefano Brignoli, who wrote the lyrics and lent his voice, and that’s how we witnessed the creation of new bomb by Some Bizarre.

But this is not the end of the sensation, because Linda Jo Rizzo joined the band as a guest and you will hear her in female vocal parts, as befits real, indigenous Italo disco. The whole thing was produced by A.P. Mono in collaboration with Marino Scarabelli. For dessert, a very nice remix by Electro Potato.

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

Hilit Kolet debuts on Rekids with ‘Hot Mess’, including remixes from the legendary Mike Dunn.

Following her remix of Terry Farley & Wade Teo’s ‘Why We Dance’, Hilit steps up to the Rekids plate with her debut EP for Radio Slave’s label with her single ‘Hot Mess’. A relentlessly driving drum machine werqout, ‘Hot Mess’ sees her masterfully mixing compulsive, marching rhythms with a fiercely impassioned spoken word vocal.

With added raw jackin’ energy in the ‘Even Hotter Mix’, this has the kind of late night runway energy that demands the
Sound Factory be rebuilt. On the B-side, Chicago house legend Mike Dunn’s remix of ‘Hot Mess’ is a deep groove that adds a wriggling earworm bassline, while still embracing the enchanting vocal of the original.

Hilit Kolet has been an integral part of London’s house scene ever since she started slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style then established her behind the decks everywhere, from high fashion shows to some of the most celebrated underground clubs in London. 2023 saw Hilit going global with shows from Ibiza to Shanghai via Printworks, Warehouse Project and Ministry of Sound.

Her summer single on the Faith imprint ‘POV Siren’ has been embraced by DJs as diverse as Robert Hood and Paul Woolford, and her edit of Laurent Garnier’s ‘Crispy Bacon’ was rinsed by many from Carl Cox to Patrick Topping, before seeing an official release by Garnier himself. ‘Hot Mess’ sets Hilit Kolet up as a serious name to watch out for in 2024.

New album of the Swiss/Lebanese experimental duo (Raed Yassin & Paed Conca). Praed is a band whose musical oeuvre can be described as a mixture of Arabic popular music, free jazz, and electronics.


Since then, the band has frequented numerous international music festivals and toured intensively world-wide, spanning Japan, Europe and Canada.

Through these endeavors, the band has created a large global network with other renowned musicians as musical collaborators.

Originally released on the seminal self-titled Nucleus Roots album at the turn of the millennium, Under De Kitchen is finally getting a well-deserved vinyl pressing with new dubs and remixes!

Vocals come courtesy of Manchester's Des Nia Lashimba, accompanied by Moses, Dub Dadda and Maria

Bristol's Sasha Steppa steps up on remix duties with her debut production, elevating the track even further with her trademark high-energy peak-time stepper style

Normandy via Glasgow dubber Stalawa strips everything back for his futuristic interpretation, channeling plenty of Rhythm & Sound inspiration

As usual, Dub Junction isn't doing things by halves, with three separate records being pressed to house all six mixes, all with their own unique two-colour marbled effect.

Under meters of concrete in central Cairo, a relentless buzz rebels and forms a melody. A tired man tunes his machines to catch a snatch of it, and accidentally creates a playground where these abandoned sounds can flourish. They develop a sense of humor and an acid tongue. A few children with bent ears find their way to an alley with an entrance to the playground. They would later describe what they heard as a delicious hybrid: one part cream, one part bubble gum. So, bend your ears and maybe you'll hear it too.

The first bunch of remixes for Kito Jempere's Green Monster. The album itself was a versatile journey thought all music styles and patterns you can imagine, remixes are keeping the same direction.

EP opens with a remix from multi-talented and prolific studio genius Ewan Pearson, the man behind hundreds of remixes, production and studio engineering duties for artists like Tracey Thorn, Pet Shop Boys, Depeche Mode, The Chemical Brothers and many many more. And Mr Pearson is taking Kabwato on a journey! Originally recorded as two and half minutes as some say mid-album filler, this boat (kabwato in chewa language) is going deep down the tropical river and through breezy morning rainforest valleys. A perfect trip for your midday staying home alone errands or for your early morning ray of light at the bar with a beautiful panorama.

Same track is getting treatment from the mighty Cable Toy! Unmistakable peak time euphoria manifest - going back to my roots-esque piano meets 90s cable tv dance show house party!

On the flip is the remix by The Dawless. The Dawless are Ramil' Goddeem from LAUD and Sergey Gol'd, producer and owner of GoldxFish Music studio. They recently released their debut album "Broken Aux" on System 108, got remixed by DMX Crew and became residents of LOUD BOYZ label. The project has simple ethics: computers not allowed, only real gear and vibes. The duo has created a true rage rave anthem for Kito Jempere now. Having already been played in a lot of DJ-sets blasting through packed warehouses, now it became available to everyone.

EP closing opus is by Kito's frequent collaborator - UK born and Japan based producer Max Essa. Every Kito's album was accompanied by Max's remixes and this time he's delivering pure beauty again. Creating some Golden-era "8 1/2 weeks" vibes, Max transforms the track into a post-summer voyage anthem.

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.


This record is a collection of tracks I made from the start of 2019 to the end of 2021. They all exist completely independent of each other. My intention while working on music during this time was to create a time capsule/memory album for me to remind myself of my moments with. I had a lot of different experiences and substantially changed during this time. The early tracks were made by a completely different person than the person typing this. Of the 6 tracks on this EP, only one of them was made with the knowledge that it would be put together with the others and released as one cohesive article.

I wanted to make music again after abandoning it for 3 years. One of these tracks marks the turning point where a projected pipe dream of determined mastery was cracked through by what the speaker cone did when piano roll blocks were placed intuitively for the first time. 

Samosa Records quickly follows up the first volume of Afrikano treats with Volume 2; a veritable melting pot of Afro beats and rhythms packed in to an exceptional four tracker.

Kicking the EP off on the A-side is Vincent Galgo and J’ngolo. This hypnotic Afro sizzler takes full advantage of the effortless bass, congo beats, African horns and (subtle) funky guitar. Add the mesmerising chanting and you have a perfect ‘Bunny Chow’ of a tune that will tantalise the tastebuds for a long time after the music has stopped. Second helpings? Why not?

A2 unleashes ‘Zaire’ by the supremely talented Matalo! Dark and broody beats take centre stage with this one, as you’re slowly enveloped in a ritual you never knew you were part of but now you can’t help sway with the rest of the worshippers. ‘Zaire’ is one of those rare tracks that you feel could create fire if you let it. With sweeping synths, tribal chanting and a detached sense of being, this monster lives under your bed and waits for lights out. Beware!

On the B-side Leslie Lello ups the tempo with ‘Alcyone’. Solid, punchy bass, driving guitar and gorgeous piano riff and vocal combine with a synth lead you absolutely need in your life. The track morphs and transforms into a full-on (almost housey) stomper; nailing its tribal colours to the mast with intent. A real beast of a tune.

Closing this superbly diverse EP is label boss De Gama and ‘E.T.A’. You know De Gama doesn’t mess about. You know De Gama wants to hit you with all he has and with ‘E.T.A’ he unleashes his ‘inner Chief. Indigenous beats pound, roll and build up to a Ramkie guitar infused chorus that’s as joyful, uplifting and inspiring as the dawn itself. A genuine, incredible slice of Afrikano from a master of the genre.

Afrikano Vol. 2 proves once again that Samosa Records know this genre like no other label out there. If this isn’t in your record box on release day, then we simply can’t be friends.

Repress.

Mong Tong's latest album, "Tao Fire 道火", not only continues the idea behind their previous work, "Indies 印", but also incorporates more local elements such as gamelan music, phin guitar, tabla drums, and Taiwan sisomi.

While sampling more sounds from the street of Southeast Asia, including weddings, funerals, and traditional celebrations, Mong Tong again explores different folk sounds around Austronesia. Different to their last Guruguru Brain release "Mystery 秘神", "Tao Fire 道火" will take us to a land that is both familiar and fresh. Feel the hot, the crowd, humidity, and ecstasy. This time, welcome to Mong Tong's subtropical world.

There can be no doubt about it, when it comes to making speakers move, Leo Cap is something of a scientist; lurking around the Deep, Dark & Dangerous realms. Following a number of EPs and track features on DDD, ‘Underground Business’ is his debut full-length album. 11 slices of audio genius, the kind of tracks that make you question your very sanity when they drop.

Leo Cap’s style is well represented across this release, and as an album is the perfect showcase of his sound. One which is known for pushing the physical boundaries to which you can exert sound systems and speakers. Literally pushing insane amounts of air when these basslines drop.

The album tells the story of Leo Cap the artist, creating beautiful things only to destroy and break them. Not only is the music a parallel for his life, it is also a form of armour, pieces collected from here and there. A protection from a paranoid existence in the dark and murky underground.

This music is his kind of Undergound Business, “it’s really deep, it’s really dark and it’s really fucking dangerous man”. All the demons, all the darkness, and also all the fun. But there are no mistakes, this is how things are meant to be, life is is both dark and light, with music as it’s abstraction.


You can turn on the music and feel these things, this is real, this is Underground Business

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

2023 Repress

Highly sought after tracks from labelboss Josh Brent himself finally re-released on limited edition heavy weight coloured vinyl.
As released on the 1998 Schatrax album, these three floorburners still sound fresh as ever!

Hanagasumi Records presents the fifth release, this time you will hear multi-genre electronic music in compilation format from wonderful artists who have their own unique and inimitable musical vision. Many of the artists previously released on labels such as Udacha, Rough House Rosie, Kimochi, Runout, Resonance, Faktura.

On the cover you see the numbered minerals of one large gem, the mineral number is also the track number. Minerals come together to create something beautiful, just like the tracks on this album.

The compilation opens with the instrumental track "Kamerton" by Shine Grooves, which combines classical piano playing with atmospheric synth sounds. The second track "Gods Gave" by Seal Bient & Jon'Smu is filled with mystery and melodic sequences that gently fall on electro rhythms. Continuing the journey, we come to the third track - "Caleidoscope" from the legendary band Bipolardepth, very fragile and thin sound matter, reminiscent of crystals, is connected with an ambient mood. The fourth track "The Sun Changed To Rain" is the work of two musicians - Michel and Shine Grooves, the composition is filled with house percussions and magical synth parts, but has a relaxing effect. The last track on side A is "Smelles" by Psor, you will hear house rhythms, lots of delay and vocals - first class dub! The second side is opened by the melodic IDM track "Muy Fragil" by Jon'Smu, atmospheric melodies are combined with broken rhythms and futuristic percussion. The second track "Fabrika" from the live improvisational band Ryabina is filled with crystal clear sounds, electro rhythm and cosmic chimes. The third track "Kwas" by Ronin combines a very slow and deep house groove that runs very smoothly through synth sequences. The fourth track "Lionwave" from the mysterious musician Phoboz, is an incredibly beautiful dub techno that slowly leads to hypnosis. The album closes with the ambient track "Runout 08.03" by X343 - a loop-shaped synth sequence that can run endlessly in your head.

Andrei Ciubuc and George Obogeanu team up as Dick & Mutt for the 18th release on Playedby.

Reverse board tip on with silver pantone print. The first ever reissue of Dorothy Carter's 1978 folk/psych/drone masterpiece. A truly unique album in Dorothy's catalog of otherwise traditional psaltery folk music, Waillee Waillee's essence sits in the confluence of Dorothy's mastery of the dulcimer; its shimmering notes fully enmeshed with the tremulous, cavernous drones of Bob Rutman's bowed steel cello. The core of this album, Dorothy's only with a full band, lies in the contradiction of traditional psych-folk idioms and the minimal avant-garde, referencing Henry Flynt and Laraaji as much as Karen Dalton. This LP version includes 12 page booklet with unpublished manuscripts, drawings, photographs, and songbooks of the songs from the album, as well as extended liner notes from friends and family of Dorothy Carter, including notable musicians such as Laraaji, Bob Rutman, and Alexander Hacke (of Einstürzende Neubauten). Drops soon - a joint release between Palto Flats & Putojefe Records.

Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

EYA Records SIDE
Jeku - Phase Lock
JJ Fortune - The Nightmare

System Error SIDE
Kurilo - Break A Leg
Wrong - C.ru.z


With COLLAB02 System Error continues in the spirit of collaboration and joins forces with London based EYA Records. As big fans and supporters of EYA ourselves this turned out to be a no brainer and the collaboration flowed effortlessly when working on our joined selection for this split EP.

On the EYA side we find “Jeku - Phase Lock” a dreamy but driving midnight city ride kinda tune that you just wanna blast out when cruising through the city or over a crowded dance floor. Next we have “JJ Fortune - The Nightmare” a truely haunting house tune reminiscent of last Halloween keeping things weird and spooky all while steadily punching a hole into your speakers(in a good way!).

On the System Error side we have “Kurilo - Break A Leg” this track slow but steadily will fill up and revive any dead dancefloor from the ground up again. Catchy, not cheesy vocal samples riding on a mad beat that will take you straight to the front of the DJ booth. And if that was not enough yet “C.ru.z - Wrong” provides a bouncy but dark dancefloor weapon to also get the last person from the couch to the dancefloor, this one means business!

Repress

Embark on our new adventure with Luca Olivotto as he leads the sixth release on Small Great Things. This limited vinyl and digital EP marks the inception of a new release series featuring exclusive Small Great Things artists.

Showcasing four finely tuned tracks that seamlessly blend classic house vibes with contemporary beats, creating an irresistible dance floor experience.

On the A1 side, 'After the Beep' initiates the journey with a classic house groove and the sultry serenade of a smooth saxophone.

The title track, 'Love Transmission' on A2, takes the spotlight more on its infectious groovy bassline and captivating vocals.

Flipping over to the B side, 'Take Me' delves into deeper realms, offering a timeless track that resonates with raw emotion.

Closing the release on the B2 side, 'Redsape' delivers a classic house tune tailor-made for the dance floor.

Olivotto's expertise shines through, creating an atmosphere that is both nostalgic and cutting-edge, ensuring a brilliant journey on this 6th release.

Luca Olivotto's 'Love Transmission' EP is a testament to the evolving soundscape of Small Great Things. This collection promises to captivate enthusiasts and DJs alike.