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Gigantic producer/DJ from Scotland, Creep Woland, lands back on the Astral Black heli-pad with his 'Chamberlain' EP. Four blistering breaks-led, club ready, jungle tracks intended as an ode to the rolling bass and rainy days that raised him. Picking up near enough where his Close Reading debut left off, Chamberlain sees a more refined and honed execution of the hard hitting electronica Woland has become known for.

Informed by the experience of playing to dance-floors, as well as educational journeys down to London for radio sets, these new tracks are fine tuned and bass heavy - perfect for existential club experiences or the driving of sports vehicles. The subdued intrigue of EP opener 'Imposter Syndrome' sets the mystical and reflective tone of the record, while down the line junglist anthems 'Medieval Draw' and '0800-Falkirk Triangle' call for slow motion gun finger. Written at a time of personal hardship and mastery of oneself, the hopeful promise of closer 'Lord Chamberlain' acts as a sonic representation of the proverbial light at the end of the tunnel of this particular time in Woland's life.

Recently, Chamberlain EP's 'Imposter Syndrome' has been receiving early radio support from Rinse FM's Jossy Mitsu & Impey on NTS, whilst his debut release Close Reading received radio support from the likes of Josey Rebelle (in her award-winning Essential Mix), Om-Unit and JD. Reid as well as critical acclaim from FACT, CLASH & Hyponik. In addition to its various accolades, Close Reading also lead to Woland being handpicked by Lanark Artefax as the opening act for his 'Enter The Gateway' performance, and has since performed alongside the likes of Om-Unit, Proc Fiskal, DJ Storm and more.

*More downbeat wickedness on the excellent Fasaan!*

This double A-sider is the fruit of a long gestating collaboration with fellow Malmö-based record collector/selector & producer Simon alias Rizzolo DJ (alias Moisture). Closely intertwined with the label in various ways since the start, his path to producing started with re-edits and a more wild-haired approach to deejaying, finally landing into his own groove with the 2018 album A Freak Is Born. Released as a privately pressed cassette, the album featured two tracks co-produced with Fasaan founder Prins Emanuel.

On that first album, the palette was a lo-fi reverie of minimal waves crashing into depths of goth and heights of camp. Here for the 12" format, we instead get the full onslaught of power tools gleaming in the blast of strobe lights. The weight of GAMMUT unfolds and delivers exactly what the title suggests: a complete scope of percussive barrage unleashed in tight locked grooves and smattering reverberations. In addition to that, we are treated with a spine-tingling re-imagining of the concept of a bass drop.

For ORGONE, a 1984 track by Norwegian group Fra Lippo Lippi serves as the backbone of the composition. Championed by cosmic DJ Daniele Baldelli and here pitched down to wrongspeeder tempo, Moisture uses the original song to bridge the gap between his roots in the re-edit scene as well as in the cosmic tradition. Thedry mechanical bassline is flanked by hollow percussion that eventually propels into a crystal-chimmering microcosm of orgone energy.

Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.

He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.

As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…

In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.

Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.

For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …

Andrés almost doesn’t need an introduction. But we’re gonna give him one anyway. Mentioned in the same reverential tones as such illustrious names as Hanna (aka Warren Harris), Marcellus Pittman, Rick Wilhite, Theo Parrish and, of course, Kenny Dixon Jr. (aka Moodymann), all collaborators, colleagues and compadres over many years, the long-serving Detroit producer has rocked up on the likes of Mahogani Music, Moods & Grooves, NDATL Muzik and his own imprint La Vida. Many more besides too when you take into account his hip-hop alter ego DJ Dez. Which is why we are super-stoked that he has joined the Hizou family with his house head on for the super-limited EP, All U Gotta Do Is Listen, a master class in downtempo, sun-kissed soulful beats, both the timeless eponymous title track and the funked-up flipside Night Time Is The Right Time.

London's On The Corner Records proudly present "Son Of Sun'' - the new EP from Morroccan producer Guedra Guedra. Having previously turned heads with his mind-bending Boiler Room performance at last year's Atlas Electronic Festival, as well as delivering a storming remix of On the Corner signees Penya, Guedra Guedra (aka Abdellah M. Hassak) returns with six genre defying cuts.

His earth trembling debut is a relentless barrage of euphoric, high-energy, future dance music, demonstrating the rich product of North Africa's fertile club music scene. Hailing from Casablanca, Guedra Guedra is a DJ/Producer exploring tribal polyrhythms of the past-
and dancefloor innovations from the underground.

His productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

In 2015 US soul, boogie and disco legend Jay W. McGee teamed up with Hamburg producer, multi-talented musician and DJ Julian "Mzuzu" Romeike to record McGee's comeback album "Good Feeling". Even though both artists are from two totally different generations, they got on so well with each other after the official re-release of Jay W. McGee's classic 12inch "Turn Me On" on Légère Recordings two years before that they started to write and record together. After all, it was Julian "Mzuzu" Romeike himself who made Jay W. McGee return to the music business after nearly 15 years of silence.

The creative process did not stop with "Good Feeling": "We now have a brilliant combination of fresh songs. Many different accurate beats and of course Jay's incredible writing and singing skills," says Romeike. "I feel that it's a great combination of dedication, skills and talent which made this album possible. I work on some grooves and hooks for Jay, he picks the ones he likes and returns a proper song with vocals and arrangement. My production team, The Unbelievable Two, then work on the final mix."

"Smooth Crusing" hints towards McGee's classic late seventies sought after sounds like "When We Party" with the first "Uptwon, Downtown". The album also includes some reggae touches and smooth soul excursions. "It is such a big pleasure to work with these guys as everything works perfectly together," comments a happy Jay W. McGee. "It has all the ingredients for a classic album. It's funky and soulful, recorded in a unique modern style. We have a tribute to the good old funky music with 'Old School Love'. A lover's rock orientated tune with 'Chance I Have To Take' and some kind of up to date Afro-Disco-Soul with 'Bounce Back To Me'. And of course, 'Smooth Cruising' is full of funk!"

Theo Kottis’s celebrated ‘Turning Around’ and ‘Clear’ get a joint 12” vinyl release on 24 April on Skint Records, alongside the Gerd Janson remix of ‘Turning Around’ and an exclusive remix of ‘Clear’ by Hubie Davison.

‘Turning Around’ was one of 2019’s stand-out tracks, receiving top reviews, Annie Mac’s ‘Hottest Record in the World’, and played widely at festivals. One of the main supporters was Running Back label boss and “the DJ’s DJ” Gerd Janson who gives the uplifting disco workout a high-octane sheen, with a cascade of shimmering
beats and a poignant, powerful refrain.

On the B-Side is ‘Clear’, born out of a sample clearance issue which inspired TheoKottis to write an original piece of music that was ‘clear’ of samples. The end result is an exciting fusion of Italo disco and ‘80s synth-pop, complete with a euphoric vocal.

Exclusive to the vinyl release, acclaimed Irish-born and now London-based producer Hubie Davison delivers a deeper and tougher reworking, which is perfect for peak-time dance-floors. In Hubie’s words: There’s nothing better than being given a load of quality source material and license to have fun with it, and that’s exactly what happened here. I’ve been following Theo for a while now, so it was a joy to open the hood on ‘Clear’ and have a go at it. Having Gerd Janson on the other side makes it even better. Hopefully people enjoy these mixes as much as I do.”

The man behind The Girls of the Internet returns to his techno-leaning alias with five resounding cuts entitled ‘My Dreams Are Slowly Dying’.

Following Tableland’s debut release at the end of the decade that picked up support from the likes of DJ Bone, Laurent Garnier, Jon Hester and Nemone on BBC 6 Music, the Girls of the Internet producer re-joins his self-titled imprint in 2020. The Girls Of The Internet continue to feed their superb reputation of delivering funk-fuelled electronics that draws inspiration from a variety of electronic music styles from the last 40 years.

‘My Dreams Are Slowly Dying’ kicks things off with pulsating kicks, undulant euphoria in the form of dreamy leads and stabbing melodies that fluctuate throughout. ‘Pyramid Scheme’ surges into squeaky modulations, jazzy tones and funky atmospherics that rolls with vibrant energy while ‘Charlie + Suzie’ offers up shuffling rhythms, subdued yet emotive synths underneath clattering highs and snares that get introduced in the latter stages, before ‘Wormwood’ rounds off the enchanting EP with a calming house cut harmonising together exquisite keys, deep bass vibrations and uplifting oscillations which carry you away until the end.

DJ support from Laurent Garnier, DJ Bone, Namone (BBC 6 Music), rRoxymore, Shy One, Ooft, Young Male, Brendon Moeller, Severino (Horse Meat Disco), David Martin (Dimensions Soundsystem), Massimiliano Pagiara, Dan Curtain

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

Seb Wildblood readies his first new release of 2020, the ‘Hazy House’ EP. After a year that saw Wildblood releasing his landmark LP, ‘sketches of transition' – which received a glowing 8/10 review in DJ Mag and made it into Mixmag’s of Albums of 2019 round-up – his new two-tracker is set for release via his London / Los Angeles based label, all my thoughts, on April 17th. Along with his recently released edit of Rosalia’s ‘A Palé’ for charity, the EP marks the DJ/producer’s return to a more dancefloor-focused sound, having ventured further into the worlds of downtempo electronics, R&B and Balearic-imbued house on his introspective and accomplished debut album.

‘Hazy House’ is an encapsulation of what a Seb Wildblood DJ set sounds like in 2020, fusing tough house rhythms with electro’s futuristic atmosphere and an ear for emotive melodic hooks. With dreamy flourishes and subtle complexities, the EP retains much of the depth that ‘sketches’ emphasized, despite being his most club-ready work since 2018’s ‘Grab The Wheel’ EP. The resulting release is one that showcases Wildblood’s considered, painterly technique, and his capacity to create thoughtful soundscapes even when focused on mobility and energy.

‘Hazy House Vol. 1’ on the A-side is buoyant and lush, with a warm synth bed hovering on top of its bouncy beat before a soft, chiming arpeggio motif floats into the mix, tying everything together in a silky deep house bow.

‘Vol. 2’ is similarly inviting, if a little more robust. With a sharp beat, angelic choral synths, and a subtle vocoder, the track is one for the depth of the night, when the last push of energy carries you through, right into the warmth of the afterglow.

Inspired by moments experienced throughout his second world tour in 2019, which saw him playing DJ sets everywhere from Australia and Japan to the UK and across North America, the title ‘Hazy House’ is a tongue-in-cheek nod to the assumptions some may have about Wildblood’s sound. But as the EP highlights, there’s a subtle intricacy at play in the producer’s work that further establishes him as a distinct voice for both club-driven sounds, and for those more suited to headphones.

“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.

Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.

Planetary Notions boss Joe Rolét debuts on Infuse to open April with his ‘Maximum Width’ EP, backed by a remix from Rich NxT.

A rising name within his home city of London, Joe Rolét is a DJ and producer whose passion for subbed out club music with a cosmic twist has seen him become one of the scenes hotly tipped talents – a sound that’s also reflected in full via his bubbling label, Planetary Notions. Releasing music from artists such as Per Hammar, Lopaski, stevn.aint.leavn and Desert Sound Colony whilst welcoming the likes of Vlad Caia and more to join as guests on the imprint’s Rinse FM show, 2020 now sees Rolét follow up releases via Beeyou, Courtesy Of Balance and his own Planetary Notions imprint as he makes a debut label appearance on Infuse with ‘Maximum Width’ EP this April, accompanied by a remix of the title cut provided from FUSE resident Rich NxT.

Lead cut ‘Maximum Width’ sees Rolét introduce his blend of slinking, reduced grooves atop of bumping low-ends whilst working an infectious vocal throughout, whilst ‘Rounding’ sees warped synths, off-kilter melodies and further tripped out vocal snippets come to the fore. On the flip, FUSE favourite Rich NxT puts his stamp on the title track in impressive fashion as he raises the tempo and introduces sizzling bass stabs and rolling hats, before rounding out proceedings with the hypnotic ‘Amber Road’ – a paired back cut that harnesses soaring sci-fi leads and wriggling percussion arrangements to great effect to shape up an impressive debut offering.

Infernal Sounds welcome back Taiko to the fold as they celebrate their 20th release on the label with a stinking 3-track EP from the Sheffield-based producer. Having previously featured on IFS009 with Darkimh on the track 'Unwarp', it's time for him to take centre stage and unleash this all-rounded release, showcasing exactly why he's one of the most sought after producers under the 140 spectrum. The 'Giant Big Man' EP delivers all of the known traits from Taiko's productions - a dynamic percussion, intricate use of vocal snips, laced with grimey undertones. The EP is pressed on 180g vinyl, and finished with a full sleeve design from returning illustrator, Emily Dayson.

Having received major support from the likes of Sicaria Sound, N-Type and Truth, amongst many other top drawer DJ's, this is a must-own piece of art to add to your collection.

The longtime portuguese dj-producer Dedy Dread lands on DJ's CHOICE label for his first full-on original production. "Don't Wanna Wake Up" kicks off the collaboration with the soulful Hawaiian-born singer Olivia Ruff, a velvety warm r'n'b banger which will certainly tear through the airwaves. On the flip side, a "bikini-dub" version by The Rebel – helped by the sax of Danilo Desideri (Funkallisto) – which will make you wish summer comes sooner rather than later.

3 years after the release of his debut EP « Seize The Day », DJ, producer and founder of Roche Musique Cezaire is back with another evocatively named project : "Attraction".

Faithful to himself, he creates a sensual ambience made of warm and swaying tones, the sweet fruit of the melodic groove which always drives him. Once the eyes closed - the imagination becomes fertile and takes us back in a 90’s daydream accompanied by hypnotic synths. Regardless of the place, it’s all about lightness and smooth vibes.

Between G-Funk influences and francophone contemporary soul, the 5 titles EP unveils the producer’s taste for retro and voluptuous sounds, echoing to the universal theme of desire.

“This second EP is to me a logical follow-up which falls within my path. Of course, its central theme is attraction, but by that, I refer to one thing : making your dreams come true. ”

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.

The first imprint on SHERELLE and NAINA’s label Hooversound brings together Surrey based DJ /producer Hyroglifics and Detroit DJ/ producer Sinistarr for an exciting dancefloor-ready EP.

‘BS6’ sees two of the most consistent and exciting names in the underground electronic music scene joining forces on Hooversound’s highly anticipated debut release.

Having both released on iconic labels in the past (Sinistarr with Exit Records, Hospital, Metalheadz whilst Hyroglifics with Critical, Astrophonica, 1985 Music - to name a few), the two producers shine in this new collaborative EP which merges together elements of footwork, jungle and techno.

The EP has two collaborative tracks that stand by two solo tracks from each producer. Electronic pioneer and legend Scratcha DVA brings his GQOM and moody percussion on the official remix.

Bastard Jazz is proud to present the sophmore solo album by one of the gems of the New Zealand underground soul scene, Isaac Aesili. Woven through electronic soul, with threads of jazz, funk, R&B and house music, Isaac's 'Hidden Truths' is the stylistic unification of all his previous projects (Karl Marx, Funkommunity, Sorceress) into a dazzling and diverse body of work. Three years in the making, its depth is clear from the first listen, and is peppered with some of New Zealand's finest soul and jazz musical talent, including two stunning female feature vocalists from New Zealand; Ladi6 and Rachel Fraser.

The album opens with an ominous instrumental 'Mirror' setting a dark a tone for the album the start, shimmering with shades of Dilla swing snapping over metallic chords and a graceful trumpet solo that enters midway through. Wild feat. Ladi6' is a heavy downbeat future soul joint with stratospheric synths layered over driving beats that build alongside the elegant vocal weavings of New Zealand's first lady of soul, Ladi6, while 'Player' sees Isaac's unique vocals tell a tale of dangerous seduction within a synth funk-driven dancehall cum house music that feels like the Gap Band on a tropical vacation. 'Jungles' is a deep, native and ocean-like soundscape that begins with syncopated synths and beats that collide dramatically into a frantic, sweeping synth outro, followed up by'Realms' , an intricately crafted song that has sonic elements from techno-house that are other-worldly accompanied by live drums that flip after the breakdown into a swinging conclusion of the album's first half.

'Run Every Way' is an epic percussion-driven electronic blues that begins with a vocal chorus from Isaac that could just as easily be interpreted lyrically as a warning about climate change as it could an expression of the inner-self, while "Refugee" is also a heavily percussion orientated joint that fuses romantic classical strings with otherworldly synth stabs and Isaac's haunting vocals moving climactically into a tender coda conclusion. "Rain Gods" feat. Rachel Fraser is a heavenly pathway into Rachel's luxurious vocals with clever lyrics merging the soaring synths and looped bassline into a short yet memorable chorus'and 'Steps' is classic Isaac Aesili production including deep Rhodes chord changes, a knocking beat with layers of percussion, synths and horns providing a warm emotive accompaniment to Isaac's vocals. 'Last Minute' is a simple yet sophisticated jewel of space and time that concludes the vocal tracks of the album in a proper soulful style, and 'Maureen' rounds out the album as an expressive instrumental outrolude that features Isaac's trumpet.

Isaac Aesili is an Internationally acclaimed solo artist and the producer and creative force behind Funkommunity, Sorceress and Karlmarx. Isaac's original productions have been supported internationally by DJs such as Gilles Peterson (BBC Radio 6 Music), Benji B (BBC 1), and Lefto (Belgium, Worldwide FM). His trumpet playing features on many collaborations including 'Layer' by Julien Dyne (Wonderful Noise/BBE) and 'Midnight in Peckham' by Chaos in the CBD (Rhythm Section). A world-renowned musician on both trumpet and percussion, Isaac is a member of the Lord Echo band. His music fuses Soul, Funk, Jazz, Afro and Latin styles with R&B, Hip Hop and Electronic music. Isaac's much anticipated sophomore solo album "Hidden Truths" is out on Bastard Jazz (NYC) in 2020.

Multi-instrumentalist producer Emma-Jean Thackray presents the ‘Rain Dance’ EP, launching her new label Movementt - cuts to nourish the body, the mind and the soul. As a musician, composer, singer, bandleader and DJ, Emma is just as at home working with the
London Symphony Orchestra as she is hosting her show on Worldwide FM. A former RBMA alumna, co-signed by Gilles Peterson and previously worked with Makaya McCraven. Across the whole record, the music was created through a variety of ways that Emma likes to work; directing her band live, sampling herself to create
new worlds and producing solo as a self-contained one-woman band.
Recent solo release ‘Ley Lines’ on The Vinyl Factory follows Emma-Jean’s acclaimed ‘Walrus’ EP and maintains her trajectory as one of the most talented young musicians whose ambitions go far beyond narrow genre tags. 180g vinyl in printed inners and CMYK sleeve with
3mm spine.

Life Notes returns with its 3rd transmission and proudly presents the Mentality EP. After starting the label under his Motion Process moniker, Life Recorder is welcoming on board 2 of his favorite producers with the Birmingham UK based producer, Jayson Wynters who already left a strong impression with releases on Mr G's Phoenix G, or Don't Be Afraid and one of the best current Chicago's deep sound purveyors and Perpetual Rhythms co-founder, Taelue.

Guided by a natural artistic and human being connection, the 3 producers and dj's are sharing the wax here to present their vision of deep, meditative house/techno speaking to the mind and the dancefloor.

Key Clef launches her own imprint Ipnotica Erotica with 'Mental Groove' EP

Key Clef is a Berlin based, italian dj and producer with strong passion for analogue instruments.

After experiencing the last years of the flourishing rave scene in Rome and accomplishing a degree in sound engineering her creative process evolved into different directions from club music, to performance art and electro acoustics.

In 2013 she released her first digital EP followed by releases on Love Blast, KKY, MinimalRome, BlackWater, DelirioRec e Mitten.

In her own world music is a continuous dialogue between styles and hybridation. Her music productions as well her live performances include synth, drum machines and analogue effects reflecting her ethereal trajectory while her dj sets show the full prism of her music taste and knowledge of the dance floor.

Key Clef sound doesn’t hit on surface instead aims to channel emotions and contact between her music and the listener. After maturing her sound over the years she is finally ready to launch her own imprint Ipnotica Erotica rec where she will soon release a new EP.

We were first introduced to Marumo’s ‘Modish’ album via DJ Okapi's amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.
‘Modish’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.
Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.
We included the afro-disco-funk beauty of 'Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modish’ needed to be available and heard in it’s entirety. We hope you enjoy!

Following a successful EP in 2019, featuring remixes from Osunla
& Pocz, Olindo Records are proud to present “Wono”, the debut collaborative album from Koichi Sak& Afla Sackey.

The album is a deep exploration of Koichi's love of both electronic and West African music, in close collaboration with Ghana-born master percussionist, singer, band leader, teacher and songwriter, Afla Sackey.

Featuring 7 tracks ranging from the meditative “Yamb”, which features master kora player Kadialy Kouyate, to the acid infused, slow house workout of “Niege”. Passing through a contemporary highlife take on advance single “Suolo” and an album version of the previously released “Jingo”.

Koichi Sakai is a London-based producer and DJ, a well-known head in London music circles thanks to his role in co-founding the legendary Afrobeat Vibration nights alongside Dele Sosimi. He has previously recorded and released music with Kay Suzuki as Afrobuddha, and they recorded a set together for Boiler Room.

Afla Sackey is leader of 10-piece afro funk and highlife orchestra, Afrik Bawantu, and the man who the likes of Kokoroko call when they need some extra power on the percussion or a singer to lead their Church of Sound tribute to Ebo Taylor.

Koichi Sakai & Afla Sackey’s first collaborative project on Olindo Records, the “Wono” EP released late last year, received widespread support, particular from Gilles Peterson on BBC Radio 6 Music, Defected Radio, Mafalda, Hector Plimmer & Zakia (NTS), Tony Minvielle (Jazz FM), Tim Garcia (Música Macondo/Jazz FM), Music is my Sanctuary, TwistedSoul, Mari* & Papaoul (Worldwide FM), Alan McKinnon and DJ Harv.

We still have copies of Koichi Sakai’s Wono ep OR004 and Betsayda Machado LP ORLP003 should you like more.

With the collective generosity of all those involved along the way, from mastering, manufacturing, affiliated record stores and PR to the artists themselves and PDD, all profits from this special one-sided Artwork remix of Mildlife ‘Zwango Zop’ will be donated to two charities combatting the bushfire emergency in Australia via Prime Direct Distribution; Wildlife Victoria and the Australian Red Cross.

Their indispensable efforts continue to assist the emergency response, rebuilding homes and habitats, supporting rescued animals and the shelters that house them, alongside aiding the evacuation centres and recovery hubs created in many communities and implementing recovery plans for those who have been devastatingly affected by the bushfires.

Certified man of the people, king of the content and all-round good guy Artwork has been there, everywhere, and done it all - in more guises than many would even know about. From Magnetic Man to Grain, D’N’D to Artwork he’s a master producer, well versed at knowing what dancefloors want and more importantly need.

Now take Mildlife, the boundary pushing, critically acclaimed Melbourne-based space jazz four-piece, who’ve managed to seamlessly blend jazz, funk and disco into one multi-coloured, multi-layered melting pot of auditory excitement. A band whose hype is certainly lived up to, with the likes of DJ Harvey heavily championing them to the point of including ‘Magnificent Moon’ on his ‘The Sound Of Mercury Rising’ VA LP.

A wash with improvisation, soaring synths, stratospheric bass riffs, and a fluidity of grooves, ‘Zwango Zop’, taken from Midlife’s debut album ‘Phase’, is kaleidoscopic cosmic gold. For this special non-profit release, Artwork extracts that undeniable funk energy and turns into a 10-and-a-half-minute, highly hypnotic, instantly addictive creation that it is as psychedelic as it is slamming.

Just one of many examples of the dance music community coming together as a power of good to raise funds for those affected by the emergency in Australia. Support the cause, through the medium of music.

Fast-rising Lisbon-based DJ/producer PEDRO has shared details of his long-awaited debut album, ‘Da Linha’, which releases on March 20 via Enchufada. First teased with the release of bubbling lead single ‘Calores’ in January, ‘Da Linha’ crowns a defining breakthrough three years for PEDRO that has seen him establish himself as one of Portugal’s most vibrant and exciting new-school producers. His debut EP, ‘EP ‘Damaia’ (2017) – named after the suburb of Lisbon he was born in – immediately signposted a bright, borderless club sound rooted in experimentation, which has since been best emphasised by 2019 releases including the Buraka Som Sistema-sampling ‘Rapazes’ and a breathless collaboration with Nigerian MC, Magugu (‘Too Much’), both of which feature on the LP tracklist.

First inspired by his older brother, who would introduce PEDRO to the latest electronic music coming out of Portugal, he still references DJ Rolando’s ‘Knights Of Jaguar’ as a memorable early touch point – a record he still credits with influencing the melodies he writes to this day. Living and growing up in Damaia, PEDRO also went to school with friends of Angolan, Cape Verdean, Brazilian and Mozambican descent, exposing him to a whole patchwork of new sounds and genres like kuduro and kizomba from a very young age. With such a rich and diverse musical upbringing, it is perhaps no wonder that ‘Da Linha’ is bursting with energy and colour across all 10 tracks, melding together the hyper-specific sounds, instruments and voices that have sound-tracked PEDRO’s life so far. From the marching, militant rhythm of ‘Stuck On You’ ft. standout Ghanaian MC, Bryte, to the silky, bubblegum vocals and gloopy, earworm melodies of closing track ‘Para Ti’ featuring Xcelencia, you’d be hard pushed to find a debut record that captures a city so viscerally.

The Pendletons return with a brand new track and a slew of in demand remixes all in one package. First up is "Don't Turn Your Back" featuring Kool Customer vocalist Rojai featuring a bubblin' bassline, analog synths galore and Roj's vocals taking the lead on the cut backed up by Trailer Limon & E Da Boss's unmistakeable vibe. Next up, Bastard Jazz mainstay artists Potatohead People hit the nail squarely on the head with their restrained and eternally funky remix of the last album's hit single "You Do You" featuring the legendary Howard Johnson (previously only available on an unreleased Bandcamp bonus 7") while NYC DJ producer and edit king Jacques Renault does what he does best with "Keep It Working" featuring UK soulstress Gizelle Smith - extending the groove out and letting the bassline ride while keeping the original feel of the song intact. Lastly, Pendleton's member E Da Boss extends out the "Keep It Working" OG for the hardworking DJs across the land giving the intro & outro some breathing room. Also included is the Jacques Renault Instrumental.

Låpsley releases her highly anticipated second
album. Titled ‘Through Water’, it is the follow up to
her 2016 album ‘Long Way Home’, one of that
year’s most acclaimed debuts. Released while she
was still a teenager, ‘Long Way Home’ featured
Låpsley’s breakthrough moments ‘Station’ and
‘Falling Short’ and spawned one of the biggest club
tracks in recent years (DJ Koze’s edit of ‘Operator’)
as well as inspiring a new generation of
electronically minded songwriters including Billie
Eilish, who namechecked it as a key influence on
her sound.
 ‘Through Water’ is without doubt Låpsley’s most
accomplished work to date, written and recorded
during her transition into young womanhood. With
Låpsley as the major producer and songwriter, the
ten songs (whittled down from over one hundred)
reflect her newfound confidence, clarity and selfawareness as an artist, documenting a wealth of
personal experiences and coming-of-age stories
set against a thematic backdrop of water, climate,
weather and the elements.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

2x12"

Circle Vision proudly presents the anticipated debut album of Copenhagen producer and label head RDG aka. Ruben Nielsen.

"Planetary Sound Fiction" marks the Danish label's 10th release with a subbed-out panoramic trip deep into the current state and future of bass music, with sound allies Killa P, Rider Shafique, K Man, Ill Chill, Monti and Yaa Aisin all complementing the hands and ears of the accomplished Danish producer throughout the album.

Drawing on experience from decades of DJing, musical production, sound engineering and intergalactic excursions, RDG has thoroughly matured his undeniable skill of orbiting and perfectly blending the dimensions of jungle, dubstep, techno, DnB, experimental, leftfield and downtempo music into a coherent and captivating sonic journey.

Following more than 25 EP releases over the past 10 years, "Planetary Sound Fiction" is by far RDG's most exhaustive work to date and presents a sound, encompassing anything else released by the Danish producer so far.

Matt Karmil's fifth album is a meditative collection of woozy loops and soft focus house. STS371 is the follow-up to IDLE033, - - - -, ++++ and 2018's acclaimed Will. Matt Karmil is British born - growing up in the rural town of Salisbury, near Stonehenge. Suffering a prolonged illness as a child, he spent much time indoors whiling away the long hours by playing with a classical guitar. Eventually he was well enough to see the world that had almost left him behind, and he spent his early twenties as an international traveller, DJing, record collecting and working as a producer-engineer in London, Paris, Stockholm and Berlin. In 2012 he decided to settle on Cologne âÇ" a city famed for its excellent club scene and ultra-minimal take on techno via the collective of artists and producers around the Kompakt label. With a studio established in Cologne, Matt made his LP debut with the well received (but hard to Google) "----", combining dusty samples and elegant tape hiss with scuba-diving grooves and minimalist vibes. In the same year he released the jubilant club anthem 'So You Say' on Tim Sweeney's Beats In Space label and remixed John Talabot and Axel Boman's (Talaboman) single 'Sideral'. Recent years have seen a raft of new releases from Matt, remixing XPress 2 for Skint, the albums idle 033 and ++++, as well as 12"s for YumAc Records, Idle Hands, Endless Flight and Studio Barnhus, received with great reviews in publications from The Wire to Resident Advisor and beyond. 2016 also saw Matt much in demand for his skills in engineering, mixing and mastering, working extensively with Matias Aguayo for Crammed Discs, Kornel Kovacs for Studio Barnhus and Talaboman for R&S, among many others. At the invitation of artist Christine Sun Kim, Matt composed a sub-20Hz piece for Bounce House at Sound Live Tokyo 2015, while his video collaboration with Boston's MIT Media Lab, Time Moods, was premiered in late 2017.

Theo Kottis continues his impressive run of form with the sublime ‘Nothing To Lose’ EP, released on his own Beautiful Strangers label on March 13th.

Following an Annie Mac’s ‘Hottest Record in the World’ accolade for ‘Turning Around’, a brace of Mixmag’s Big Tunes and 10/10 reviews in 2019, plus support from many leading tastemakers and DJs, Theo Kottis shows why he is one of the UK’s most exciting producers and regarded as ‘one to watch’ for 2020.

The three-track ‘Nothing To Lose’ EP includes everything from club focused sounds to smooth, soulful melodies. Carefully crafted, the title track ‘Nothing To Lose’ is ready for the dance-floor and described by Midland as “sounds like Floating Points making a record for Afterlife!”. '12 Months' mixes arpeggiated synths with pads and breakbeats to create a perfect peak-time moment. The more chilled sounds of 'Loyal’ showcases Theo Kottis’s impressive range, offering up another stellar groove.

With a forthcoming date at Berlin’s iconic Panorama Bar (22 February) and a Gerd Janson remix of ‘Turning Around’, 2020 is off to an excellent start for Theo Kottis.

Yokohama-based producer Foodman - aka 食品まつり or Shokuhin Matsuri - continues his expansive sonic voyage with his new EP Dokutsu, out on 6th March 2020. It follows his 2019 release ODOODO, which was issued on Diplo’s Mad Decent label. Dokutsu is the first release on Highball, a brand new label exporting forward-thinking music from Japan.

Foodman emerged from Japan’s nascent footwork scene, using the genre as a springboard for an escapist exploration into a dazzling array of sounds. He’s since earned the respect of influential fans including Diplo, Benny Blanco, Cashmere Cat and HOMESHAKE, while Pitchfork, Noisey, FACT and Tiny Mix Tapes have included his releases in various ‘best of the year’ lists since 2016.

Opening track Kazunoko sets the tone for what will follow. Its woozy rhythm is evocative of the off-kilter playfulness that’s become a hallmark of Foodman’s uncategorizable artistry. It’s also a sign of his inventiveness that he constantly adds fresh layers to the track without losing sight of its light-hearted, spacious feel.

Another of Foodman’s unorthodox traits is his ability to meld the frenetic with the soothing. Hirake Tobira is a case in point. Its production is hypnotic, while its central motif - endless twists and variations on a vocal sample - is sufficiently insistent to demand attention. Kachikachi reverses the trick with a thrilling rush, stuttering otherwise unobtrusive sounds.

Elsewhere the EP plays on sonics which have echoes of the familiar while remaining alien: the boss fight soundtrack of Oshiro, the clattering percussion that dominates Imo Hori, and the ambient psychedelia of Konomi.

Based in Yokohama, an hour south of Tokyo, Foodman’s multifaceted skills also encompass DJing and painting. His press image, shown above, is a self-portrait. From the stripped-back sketches of his 2012 set Shokuhin (released on Giant Claw’s Orange Milk label) to the richer textures of ODOODO, Foodman has subverted everything from Okinawan folk to J-Pop to D&B/classical fusion into his own otherworldly inventions.

What more can be said about Saint Petersburg producer Mikhail Khvasko, aka A Vision of Panorama that hasn’t been said before?
His ”Sentimental Coast’' EP continues to cultivate his unique glistening soundscape characterized by a lush jazz-tinged blissful Balearic ambience. The four original tracks here are a range of sun-drenched, unfolding narratives, full of gentle sounds and chords.

Smooth and vibe-focused ''Atlantic Dawn'' exudes sensuality-tethered vibe that is highly intoxicating. Emblazed with mysterious deep breaths and shimmering sonics that entrances the listener straight away to the whole release.

Disarmingly beautiful ''Mediterranean Tribal'' is an old school-fare downtempo jam with classic chilled out laid back Mediterranean instrumentation.

''Sentimental Coast'' is distinctly deeper and more emotive than his vintage synth-laden sounds and is one of his most fragile and still moments within a superbly arranged delicate piano solo.

On ''Vibechos'' things get more upbeat and aquatic, featuring beautiful chords and textures that float into the track with a sun-kissed vibe reminiscent of Italian dream house. “

- DJ Nova (Nova Planet Radio Show, Greece).

MIDTGAARD is danish Balearic DJ/ producer Anders Midtgaard. Sommerfugl (means Butterfly in danish) - the Original version was handed out to a few DJs in Ibiza last year. First up Italy's finest, Luca MOPLEN has in masterful style been re-working this piano driven groover that oozes summery flavour all over. The package here also comes with a great balearic re-rub from Denmarks Mike Salta (MFD) and the Original version. Support and kind words from the likes of Kenneth Bager (Music For Dreams), Francois Kevorkian, Phil Mison Colleen Cosmo Murphy, Willie Graff and many others.

Culled from the vast 90s archives of Brooklyn DJ and producer Adam X, these four tracks demonstrate the early experimentations of the 90s NYC acid rave scene. Tracks tailor made by the djs for the ravers, pushing acid extremes and decimating minds. A document of a time when experimentation and freedom reigned the scene.

This record includes four tracks exclusive to this 12 inch and not on the LP. Remastered at Dadub Mastering. One time pressing limited to 300 copies.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

Bristol-based multi-instrumentalist producer Memotone returns to Diskotopia for the stunning full-length LP Invisible Cities, undoubtedly his most accomplished work to date, effortlessly joining the dots between Martin Denny, Yasuaki Shimizu, Nurse With Wound, and Mark Isham…

Memotone is the principal alias for Bristol-based multi-instrumentalist, composer, and producer William Yates. As a solo artist, he has released on labels such as Black Acre, Bedouin, Project Mooncircle, and Brownswood either as Memotone or under his other alias Halfnelson. In addition to doing composition work for film and television, he works as a session musician for the likes of Dmitry Evgrafov, Connie Constance, and Phaeleh. He's also part of the Avon Terror Corps project helmed by Bokeh Versions, Giant Swan. Noods et al., and is a member of ATC-affiliated Pheasantry Society. His music has been championed on the radio, a key influential medium for Yates growing up, by the likes of Gilles Peterson, Mary Anne Hobbs, Tom Ravenscroft, Nick Luscombe, and more.

Drawing from Bristol's own sonic history, from the late 80s to the present, as well as the writing of Italo Calvino, Yates has put together 10 tracks on Invisible Cities that sit somewhere between neo-classical, ambient, fourth-world exotica, and post-krautrock. The mix of different timbres of live string and wind instruments, astute synthesizer touches, and skittish drum machine strokes creates an organic and ethereal energy deftly manipulated into a delicately interwoven narrative through Yates's production prowess. Already garnered support from the music press and radio DJs, the album will strongly appeal to a wide range of music lovers and fans of Ryuichi Sakamoto, Dorothy Ashby, Alberto Iglesias, Labradford, Delia Derbyshire, Peverelist, Toshifumi Hinata and more…

Vermonische Melodien is a collection of compositions by DJ-producer M.RUX, made with old VERMONA machines from Eastern Germany. The nine Electronica tracks can’t conceal their influences from Exotica records of the 1960s as well as their fondness for vintage music technology. We hear voices singing lullabies (“Magische Time”), mumbling chopped up syllables (“Seelnatrax”) or reciting a Shakespeare quote (“Bakelit”) - are they real? Yes! But they are mostly generated by the world’s first speech synthesis hardware, the IBM 704 from 1954, and processed into off-key melodic beauty with vocoders. "I’ve always been curious about musical visions from the 1970s", says M.RUX about his inspiration for Vermonische Melodien. "Those nifty Vermona machines can today be seen as future machines from the 1970s. They seem almost mystical to me. Like relics from an epoch long ago… and I wanted to find out how music from that time could have sounded." On the album M.RUX uses, above all, equipment by Vermona, a brand from Eastern Germany manufacturing electronic musical instruments until 1990. The drum machine VERMONA ER-9 (1976) was the first instrument M.RUX ever possessed. It forms the rhythmical backbone of his studio on this record. The melodies on the other hand have mainly been played on a Vermona Formation-1, a suitcase synthesizer from 1980. Although these two machines are joined by countless other instruments and effect units, their particular soft sound is present in every single moment of this soothing album. "I also take a deep bow to the late Reinhard ‘Lacky’ Lakomy", M.RUX adds. "His releases were the first electronic instrumental records on the Amiga label which has been a huge influence for my work in general and this record in particular." M.RUX has appeared as a solo producer with his “In the Hold“ EP (2016) on his own YNFND imprint. Before that he had become famous for his edits which gently transform songs by Nina Simone, Townes Van Zandt, Tom Zé and many more into slow, dancefloor-ready gems. Pingipung is proud to present this first full-length album by M.RUX. He is not only a talented multiinstrumentalist and original producer but also a skillful remixer - as he has shown twice to the Pingipung audience in the last two years with his touches on Umeko Ando’s Ainu folklore songs

"Elossa Records" fourth release is a melodic fresh breeze of balearic House from Miro-Benji & Stuster. A very talented duo from Finland who have been active as DJs and producers, for several years in the club music scene in Helsinki. They’ve also gained reputation for their NICE LIFE and Soft Assault Orchestra – projects. 'Magia EP' delivers quality down- and uptempo tunes, with a tropical, electronic touch.