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Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of
electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after
experiencing their new album, ‘Memória da Pedra Mãe’.
Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous
album (released by Saliva Diva in 2020) was recorded in Chaves,
in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this
latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones"
found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the
importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that
is both natural and conflicting, since it mirrors a tension between past, present and future".
The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this
new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards
(acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in
"Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation
with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka
AZAR AZAR (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces
their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this
music as part of a wider set of coordinates.
Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of
Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different
instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the
idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater
fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And
there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic
references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense
that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future
is the best of all locations.

repressed !

Office 04 circles in memories: The record is about Johannes 'Iron Curtis' Paluka's time at Karl-Marx-Straße Berlin where he used to live next door to label head Baaz and graphic designer Chris Fladung.
A1 track 'Magnet' is an ecstatic piece of house music holding all elements IC's production is esteemed and loved for : Heavy, unrelenting kicks, rolling bass lines, shimmering pads, topped with searing hot yet gamelan-like synts and an icing of slightly loose, detuned organ stabs predesting grand emotions on any dance floor. 'What happened happened' surely marks up as another proof of Curtis' fearless takes on house music: distorted field recordings and blurred spoken words, a web of gossamer melodies and subtle clicks and cuts, all cohered by the louche bassline and the reshuffled groove in a true dilla-ish vein.
Adapting elements to their own agenda, clandestine groove explorers Berg turn 'What happened' into a true midnight roller: razor-sharp hihitas join forces with a steam-maschine like percussion, whipping relentlessly in-between kick drum and kick drum. Berg cools off their take with prancing melody motifs and strung out pads of the original track, though never loosing focus of the 'reductions' aim: keep the dancer dancing.

Louise van den Heuvel is a dynamic Dutch bass player and composer. She's known for blending modern music technologies and effect pedals in her compositions rooted in the contemporary electronic/jazz scene. Louise founded the up-and-coming Belgian electronic jazztrio Dishwasher_, collaborated with renowned artists on stage such as Zwangere Guy & Lander Gyselinck and Bruno Vansina Orchestra, and is part of Stéphane Gallands' The Rhythm Hunters, The Gallands, and the neo-soul group STACE.

For her latest project, Sonic Hug, Louise composed the whole repertoire by herself. The self-titled album, supported by JazzLab and W.E.R.F. Records, features a stellar line-up of some of the leading figures in the Benelux (jazz) scene: Hendrik Lasure on keys, Daniel Jonkers on drums and Daniel Comerford on reets (live replaced by Werend Van Den Bossche). The band is set to tour in April and May 2024 after its release on 5th of April 2024.

Her own creations expose themselves as elaborated melancholic songs filled with elegant grooves, crystalline vocals and experimental jazz excursions. She's brilliantly using her own musical voice - even literally, since you will also hear her sing on some of the tracks.

?Surrounded by three equally inevitable peer musicians in the front of the new Belgian jazz generation (known from acts such as schntzl, Bombataz, Profound Observer, Otto Kintet, Dishwasher_, Kin Gajo, ...) Sonic Hug becamea very personal, unique new project. Influenced by the sounds of Scandinavia and artists such as ADHD, Nala Sinephro, Floating Points, Y Otis and Joni Mitchell, the vibe of Sonic Hug is etheric, elegant, melodically narrative, and always searching for a grasping groove.

2025 Repress
Chontane delivers six dynamic techno cuts via his 'Sycamore' EP on Mutual Rytm.

A firm fixture of the VOLTAGE roster and a rising name originating from Ukraine making an impact, Berlin-based DJ and producer Chontane is quickly finding his feet following a string of EPs via ARTS, Lobster Theremin and Rekids Special Projects. Already playing key clubs at the age of just 18, blurring the lines between techno, breaks and electro with his growing trademark sound, his performances across Berlin and beyond have captured the attention of many as he showcases his up-front and powerful sound. Next, he heads to SHDW & Obscure Shape's Mutual Rytm imprint for the first time as he reveals his six-track 'Sycamore' EP.

Lead cut 'Preserved' is a rugged yet soulful opener, settling into a rolling groove guided by crisp hats and sharp stabs, while 'Arakis' propels into more eerie and menacing spheres as waling vocals emerge and disappear into the track's relentless dynamic. Opening the B-side, 'Sitka' fuses jacking drums with playful flute interludes for a production set to get dancefloors moving, while 'Laboe' keeps things fiery as a peppy track which launches into fiesta mode. Closing the flip side, B3 'After Images' reveals the most emotive production on the package,
balancing the hard-hitting kicks with soulful vocals and hazy melodies for a classy slice of techno.

Once again, digital purchasers are treated to an exclusive bonus with 'In Roots' raising the temperature and jumping right back into the action to serve up another energising anthem from a label and artist on the rise.

Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

DJ Feedback

Glenn Underground:
"Nice!"

Bill Brewster:
"ASHHR Sound System mix doing it for me."

DJ Sprinkles:
"Yes I like it."

Pete Herbert/ Disco Deviance:
"Yes Yes loving System Olympia versions herb. Dirty low slung biz."

Massimiliano Pagliara:
"Great stuff!!"

Max Essa:
"This is wonderful, love the System Olympia mixes!"

Franck Roger/ Real Tone:
"Yes!! I like the 3rd remix."

Sean Johnston / A Love From Outer Space:
"Really nice!"

Dicky Trisco:
"Loving this sexy stuff."

Sam Fawcett/ 6 Music:
"Added to the list of recommendations!"

RPX 16035 returns with a various, on the A side two tracks by Giuseppe Angeloro with 80s influences. Drum dynamics and abstract sounds composed with the classic keyboards and sounds of those times to complete the 2 grooves.

On the B side, three tracks by Gianluca Pellerano, dark influences and style that recall 80s new wave with the influences of more conceptual techno.

RPX 16035 wanted to collect a retro sound but projected into the future.

Burnin Music bossman Pegasvs returns with his first new material in several years, and it's a classy collection that's been worth waiting for. '(No) Peace' begins the journey: a languid slice of ambient / downtempo beauty with hypnotic spoken word vocals from MA.MOYO which eases you into the EP in meditative fashion. 'Take It' ushers us more towards the dancefloor with some mellow synth-funk stylings and punchy raps from The S.O.S. weaving in and out of Twyla's effortlessly yearning vocals. 'Traffic Jam' is a sumptuous patchwork of deep house motifs, where Rhodes chords, funky guitar flecks and plump bass tones interplay beautifully, and 'La Nuit' rounds off in stripped-back Detroit house style—all murky chord stabs, throbbing low end and classic drum beats.

É Soul Cultura captain, originator of Manchester’s legendary Electric Chair and definitive people’s champion, Luke Una taps into a lifetime’s worth of musical discovery for the second volume in our Mr Bongo Edits series. A cosmic coming together that sees two of Luke’s secret weapons, re-edited and re-contextualised by the man himself to provide optimal dancefloor euphoria.

A stalwart of the underground for nearly 40 years, Luke has become an appointed leader of the late night disenfranchised, with an unquestionable ability to pick records that make minds tick. Not least through his two É Soul Cultura compilations released on Mr Bongo over the past two years.

A taste that traverses genres as much as it does emotions and decades, who better to give an insight into the tracks he has chosen to edit, than the man himself. “I've been an avid collector of afro-beat house, techno and underground black heart disco since before the basement soul days of Electric Chair 30 years ago. Both these bombs were very much holy grail finds, plucked from the last four decades of digging in random crates of dusty vinyl all over the world.”

First up, Thandi Zulu & The Young Five’s interpretation of Pure Energy’s early ‘80s disco power play – ‘Love Game’. With a distinctive South African synth bass and killer keys combo, Luke explains the original has this “bonkers alchemy of heavy machine soul, uptempo rawness and a majestic disco evangelism”, making it ripe for a re-edit.

On the B side, Lionel Pillay’s Jazz dancer ‘Plum’. “The original was a relentless 18-minute raw jam”, Luke states, “which despite its late ‘70s South African origin kinda reminded me of a 1986 Chicago piano House record”.

“These edits strip the tracks back and rebuild them, giving them more sonic weight with that looped up drum jacking militancy from the days of Chicago, combined with a boosted sense of transcendental, psychedelic, cosmic disco. They have always had such an explosive reaction on so many dancefloors including the heavier electronic club, so it felt only right to reshare them”.

Studio One was founded by Clement "Coxsone" Dodd in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.
Amongst its earliest records were "Easy Snappin" byTheophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

After releasing on Local Talk Records in 2023, ManooZ contributes his new EP to the Raw Soul vinyl series. Dive into the captivating sounds of the 'Midnight Madness EP', where ManooZ, renowned for his 90s inspired house music vibes, takes listeners on a rhythmic journey. Armed with vintage MPC drums and evocative FM synths, he crafts tracks that echo the golden era of house. It's evident that ManooZ has burned the midnight oil, channeling his soul into every synth line and percussive groove. This EP promises to be a timeless addition to any vinyl collection, a true testament to the artist's dedication to the craft.

BopdyParts Vinyl long-awaited twenty-ninth release welcomes veteran Tommy Vicari jnr to the imprint with "No You Neednt Explain EP", a groovy four-track solo release spanning from warm, deep minimal to shuffle house dancefloor stompers. Tommy Vicari jnr has made all sorts of dance music over the past two decades, usually proof-ready for the most refined dance floors worldwide.

The EP's first and title track, 'No You Needn't Explain' (A1), fully displays Vicari's signature: syncopated beats, shuffled squicky basslines and exquisitely looped samples for maximum dancefloor hypnotism. 'Issacgroove' (A2) continues the story with its slapping drums on top of deep pads and percussive samples, creating a particularly jazzy atmosphere full of quirky filtered samples for added funk. On the flip side and in pure Vicari fashion, 'Anytime' (B1) doubles down on pitched-up vocals and sampled guitars & keys, reminiscent of the early 00's French House era. 'Chapter and Verse' (B2) closes the EP with a slightly eerie tone and a total focus on the atmosphere and its apparently non-stop groove. Dancefloor-ready and captivating, "No You Needn't Explain EP" is no different than all other Vicari releases around - a must.

Mood Child unleashes Sirus Hood and Trangaz’s ‘Ghetto Corazon’ EP, a blazing fusion of African, Latino, and Asian influences.

Label father Sirus Hood and Mood Child favourite Trangaz join forces to craft two original bangers, ‘Ghetto Corazon’ and ‘Boothy’, while Manda Moor, Mood Child's mother, spices things up with two different versions of remixes of the second track.

‘Ghetto Corazon’ is one of those tracks that ignites the dancefloor and highlights a DJ set. It’s primal, unique, tribal, and groovy. It has a Techno vibe with its high BPM and killer kick drum that has the power to tremble any dancefloor.
We can sense the Latin roots with the Spanish vocal singing "mi corazon" and the African flair with its broken swing percussion pattern.

‘Boothy’ is a playful acid-led tune enhanced by a unique hi-hat game, with vocals from Trangaz himself talking about the DJ booth adventures. The vocal depicts situations that are bound to happen in any club.

Manda Moor delivers two different remixes of ‘Boothy’: a ‘Punchy’ and a ‘Spicy’ remix. Her ‘Punchy’ rendition is vinyl only and adds a dirty punch to the original, while her ‘Spicy’ version has all the essence of the ‘Manda Moor groove’ - an addictive drum pattern with her unique style that is recognised right away. She is known for her picante sound, adding the perfect spice to this EP.

This release showcases the best of the heat from three minds with different roots. An irresistible melting pot, with early supports from all stars like the king Carl Cox and The Martinez Brothers.

Sirus Hood & Trangaz ‘Ghetto Corazon’ EP drops via Mood Child on 22nd March 2024.

Thomas Xu from Steady Flight Circle and Tommy Kladis from Music Time with Friends come together on this new cassette-only release that captures three of their sessions at Kladis's studio. Xu was on synthesizers while Kladis was in charge of samples, drums and loops on the SP-555 and the final touch was lo-fi drums from John Shaughnessy. It takes the form of two extended jams that reach out to almost 15 minutes of dusty, ambient-laced soundscapes with distant percussive details and melancholic moods. 'Klaxu' has more darkness and more prominent rhythms to it but both pieces make for escapist listening.

The title track "Who You Are" has become a dance floor favourite making appearances during Templé's DJ sets opening for the likes of Rick Wilhite, Osunlande, Trus’me, Rahaan, Alkalino, Late Nite Tuff Guy, Hidden Spheres and Harvey Sutherland.

It's the kind of track that can get the party started, keep it going or close it out with its tough verses, 303 acid line, drum machine build up and poppy chorus. It’s so versatile that it’ll never leave your record bag. Staying with side A, the EP's charm is further amplified by Prins Thomas's magical remix of the title track.

This luminary of the electronic music scene adds his Nordic touch in only the way that he knows how. Delicately weaving his disco sensibilities into the fabric of the original track, making the chorus the break down, turning the original track on its head. This one will get you in the feels.

Flipping the record over to the B-side, we encounter "Wait For Love." It's a powerhouse of a track, driven by a rolling acid bass line and a saxophone solo that lands right in the sweet spot, ensuring the party never stops.

The vocals soaked in effects and skilfully sliced and diced, guides the listener's focus making it the perfect tune for those late night dance floor occasions. Then there's "The Tetrah" - a departure from the rest of the EP. It's a deeper and more intricate piece featuring the soulful interplay of saxophone and trumpet throughout. These two instruments seem to tease and tantalise each other, never quite aligning until the final drop. It's a near 9-minute journey and each moment holds your attention.

Coming from a diverse background of equal amounts hip hop and rock, the producer behind the alias of nrl:ndr got into dance music late in his musical career. After playing in kraut-oriented bands like So Many Mammals, parts of that group reformed into the live techno outfit Tren Né, with the goal of fusing techno elements with live drums. Playing for illegal raves with a punk-like energy, nrl:ndr has cemented his relationship with his machines in service of the dance floor.

But his solo debut on blundar is quite far removed from that scene. To understand this music, one should be aware of the conditions under which it was manufactured. Reluctant to consider himself an artist in the traditional sense, nrl:ndr makes his music free of anticipation and without apparent goals. To glean into this outré musical space is like putting one's ear to the boarded up windows of the photograph that adorn the front sleeve.

The album makes extensive use of the Roland JV-2080, a sample-based synth rack from 1996 with a distinctly clean sound. Our producer dives deep into the expansion cards (labeled after genres like “Hip Hop” and “World”) for curious and sometimes cheesy samples. But he also forces the JV-2080 to do things which are not its forte, like the arduous task of programming decent kick drums.

Another technique that is testament to his experimental view on music making, is the idea of using sketches of unfinished tracks with different time signatures, and mash them together into something new - of which the results of one of these experiments can be heard on the closing track and its bilingual conversation between ambient and tribal.

Full of stunted rhythms and eerie melodies, the unclassifiable nature of the music of nrl:ndr lies somewhere in the vicinity of IDM, classical avant garde and private press synth. From the epic opening track - echoing the post-kraut drumming style of Michael Shrieve - to juggling with chopped up vocal samples and treading into almost trap-like territories on A4, he crosses into a multitude of genres without getting his hands too dirty with nostalgia.

The return of Gaussian Curve - Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'.

Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.

The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.

On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.

The New Mastersounds have been performing live and making funky organic-sounding records for 25 years. Starting out in Leeds, UK, having initially appealed mainly to old-school DJs and vinyl collectors, they managed to build fanbases across the USA, Japan & Europe.

The album comprises ten original instrumental tunes composed and performed at the keyboard player's studio in the heart of the English Peak District during a rainy week in July 2023. The tracks showcase the earthy essence of the band via its signature vocabulary of uncomplicated funk, soul-jazz, classic R&B and reggae-infused grooves.

In the UK selected tracks from the album will be featured on The Craig Charles Funk & Soul Show on BBC 6Music. An extensive US tour is planned for Spring 2024 in support of this release.

Eddie Roberts - guitar & tambourine

Simon Allen - drums

Pete Shand - bass guitar

Joe Tatton - organ and piano

We are so excited to present to the world the 3rd and final instalment in Danny Tenaglia’s GU Trilogy, Danny’s mixes have been a huge part of our DNA for many years, with his seminal Athens and London mixes forming the part of many people’s favourite DJ mixes of all time, Brooklyn is a stunning addition to that heritage and we can’t wait to release this album to the world.

This is the Vinyl Edition #2 of the album, curating a stellar selection of techno and melodic house. "As a native of Williamsburg, Brooklyn, this compilation is not only a celebration of my roots but also a tribute to the dynamic and ever-evolving nightlife that ignited and guided my musical career back in 1975.” Danny Tenaglia

Cosmic Shuffling took us on its journey last year with its magnificent vocal album COSMIC QUEST. Now the Swiss septet extraordinaire returns with the sequel of its latest album: the instrumental side of the Quest. These two brand new 7” singles present four instrumentals taken from an upcoming full instrumental album due out September 2024. If you wish that Tommy McCook, Bobby Ellis, Roland Alphonso or Don Drummond had written more melancholic instrumentals, these tunes are for you! Burning hot scorchers!


Led by a gorgeous horns and flute top line, ‘Poor M. Collins’ grooves with a rhythmic finesse that will have you swaying to its infectious beat, while ‘Memories of Plans-Bochet’ takes you on a nostalgic ride, leaving an indelible mark on your soul.

Yuki Kanesaka, the multi-instrumentalist/Producer who's been the Mastermind behind his monolog project recordings is back with the delicious uptempo cover of "Watermelon Man". He indulges us with star-studded features of Bill Summers, the percussionist of the Head Hunters and Curtis "Fitz" Williams, the musical director and keyboardist/saxophonist of Kool & the Gang. The backstory is, Yuki traveled all the way to Bill Summer's home studio on Valence Street, New Orleans to record Bill playing a variety of alluring percussive instruments. That includes playing Hindewhu, the style of singing/whistle-playing of Central Africa mixed with a Peruvian Pan flute Zampoña much like the infectious Head Hunters version. Other notable instrumentations include congas, and shekere and Bill's hand scratching used as a human shaker. Curtis Williams plays the lead soprano sax melody we all know and love, with some added clavinet that adds extra sugar to the watermelon funk. B side features a special drum break version called "Bill's Valence Street Jam", so you can really savor the mouthwatering groove of the Watermelon Man. Both tracks are performed, produced, mixed, and recorded by monolog aka Yuki Kanesaka.

Super db is a 4-piece band from the South of England whose sound is a distinctive mix of pop, disco, funk, rock and jazz is evoking the sound of the early 80s American West Coast. The lineup consists of twin brothers J-M Sutcliffe (Guitars & Vocals) and J-P Sutcliffe (Keyboards, Percussion & Vocals), along with two new members, Jonathan Wills (Drums, Percussion) and Indigo Pearce (Bass). Following their second album "Ecoute Ca", Super db now release their third album "Downtown". The album has spawned four singles so far, "Back To Me", "Downtown City Girl", "Side By Side" and "Hard Drivin'".

"Downtown" features all the trademark Super db ingredients, including soulful close harmony vocal stacks, popping bass lines, ripping guitar solos, and jazz infused harmony, all set to the tones of the West Coast Funk and Disco era of the early 1980s. The band also hark back to some of the Latin flavors featured on their previous album, with songs such as 'Brazil', and the album's infectious closer, 'Maquina'.

"Downtown" is an album that promises to take the listener on a journey back in time when Disco was king and Walkmans were all the rage. Twelve songs all evoke the feel-good vibes of summer nights at the beach.

Oceanvs Orientalis teases his highly anticipated album 'Portrait of the Obscure’ on Crosstown Rebels with the third and penultimate single ‘Neurality’, remixed by 8Bit and Cecile head honcho Nick Curly. Istanbul-based Safak Oz Kutle, aka Oceanvs Orientalis, is a producer and live act who blends the rich sonic cultures of Turkish, Kurdish, Armenian and Arabic music to curate his take on electronic music. The first two singles from his forthcoming album on Damian Lazarus’ legendary Crosstown Rebels have showcased his diverse sound at its fullest, and now the third offering and final single ahead of the LPs release confirms him once again to be a standout talent as he unveils the captivating sonics of ‘Neurality’.

An absorbing and stirring production, ‘Neutrality’ brings a darkly involving groove that is multi-layered and hypnotic, with several shimmering vocals, jangling percussive lines and ethereal pads all locking you in for an enthralling ride. A remixer who needs little introduction, Nick Curly is as integral to the tech house genre as anyone in the scene, heading up key labels such as 8Bit and Cecile while helping to define the genre as we know it today. His interpretation is deep and warm, with slinky drums carefully deployed amongst vocal whispers that bring human soul. An excellent final preview into what’s still to come, ‘Neurality’ delivers another exceptional production, leading perfectly into the release of the full-length project this April.

Unusual Systems Records is back with their 7th release. On the A side 3 cuts from Corp, recovered from the withdrawn release "Lost Cassette Tapes Extracts", several times required by some fans over the last years from it was self-released and retired in the posterior days by the artist on his Bandcamp account.

Those ones was recorded by the label founder between the years 2017-19 at the same time that the first Unusual Systems release and the track "Robotik Dreamer" with the characteristic sound that represents this era of the artist: 80's drum patterns, simple basslines, mysterious melodies and epic pads with a touch of the early spanish proto-techno sound. Yamaha RM1x as main sequencer, Kawai K1, EMU Xtreme Lead, Quasimidi Techno X and Ensoniq DP/4 as fx processor. Master direct recorded to a Tascam 424 Mk1 cassette tape recorder. 0 daw or software used.

On the B side Cavalry Stone, the spanish duo formed by Jesus Fernandez Solis (aka Nuclear Waste) and Oscar Ricardo. They have previous releases on cassette and digital on the label Soil Records and the support of artists such Ancient Methods that included their tracks in his DJ sets

Rhythm Cult is back again as last summer hit ‘PPPPP’ from youANDme gets a second special package of reworkings from a band of meticulously selected remixers from around the globe. This time we welcome the likes of Shed (50 Weapons, Ostgut Ton) and Johannes Albert (Live At Robert Johnson, Renate Schallplatten) to the Cult to provide exciting new iterations breathing their unique spirit into an already memorable track.



First up to the platter is raw techno purveyor Shed in his Head High guise, who serves up a faithful but turbo-charged rework. The original’s ludicrously addictive vocal refrain returns, orbiting endlessly across the soundscape while the drums get serious steroid enhancement creating a weighty groove that hits hard. One of Rhythm Cults' favourite house producers Ian Pooley comes next, returning to deliver a sublime raw house re-take as only he knows how. Filtering and manipulating the vocal cuts and old-school stabs, he creates a bumping excursion into the cavernous depths, complete with lush echoing dub chords and jackin’ percussion. One for the house heads and as always, dancefloor dynamite. The Drunken Diva ‘Scream Mix’ shifts down through the gears to create an almost lilting, off-kilter dub-influenced iteration. Perfect for those hot late-night summer dancefloor moments, this cut takes it deep and dark. Finally, Berliner Johannes Albert swoops in to direct the track into a crunchy minimal 808 territory. His rework is complemented by some slick vocal chopping and frequency-shifted segments elevating the track to a new plateau.



Another fine series of remixes ensures ‘PPPPP’ will be lighting up dancefloors this

summer season and beyond. Rhythm Cult continues its mission to showcase some

of the most talented and forward-thinking producers out there.

Suchi’s bouncy, airy productions are so organically deft that they almost belie the complexity that exists within. Prior to her !K7 debut the Oslo-born, London-bred, Delhiinfluenced DJ and producer found herself in a period of creative stagnation, while attempting to rediscover her own voice through production. After going back to the drawing board again and again she resolved to let go of overthinking, eschew the process, and let experimentation lead the way, revisiting some simmering sketches and work in new ways.

Ghungroo EP is the result of this reset, and rediscovers Suchi’s sense of playfulness through different production styles. It’s pressed on eco-friendly vinyl, PVR free and 100% recycled. “Ghungroo” is a homage to Suchi’s early years, and named for the small metallic bells strung around the ankles of classical Indian dancers. The track is equal parts cosmic, bassy and wavy, with a downwards bassline that plumbs the depths of low frequencies. The memory of early music passions emerges as the same melodic loop undresses and redresses in different guises - between breezy pads, glowing chimes and euphoric bells.

“Blåmerke” means bruise in Suchi’s native Norweigan tongue, and it leads heavily with double-time polyrhythmic drums, ravey rhythms and percussive bubbles popping. Triplets of synth stabs are artfully deployed with reverb and warped, stretched pads, bringing a whimsical twist to a track that is otherwise a tough-edged stomper. “Bottlepop” loosens up the tempo for a funky house framework, foregrounded by a big melodic synth riff. The track’s hookiness is enhanced by its old-school school feel, with distorted whistles and evocative pads. “Blåmerke” is then given a rework by Sam Goku who was chosen for his euphoric, dusty-sounding club tracks that hit hard; in his care the remix provides exactly that, via throbbing, shimmering, deep trippiness

SSR returns for its fourth 12” release and this time round we are buzzing to have ‘Andy Odysee’ at the controls.

Along with T Mirage, Andy is the driving force behind the seminal DnB imprint ‘Odysee Recordings’ a staple in the scene since 1994. Their label released early works from legendary artists such as Source Direct & Photek to mention but a few!

Not only is Andy an accomplished Drum & Bass artist but he is a fully fledged Jazz musician in his own right! His skill on the Rhodes keys speaks for itself & you will hear these influences on this release.

‘Spine Chiller’ delivers exactly what it says on the tin! A cinematic & tense DnB piece with the kind of excellent drum work will love here at SSR..

‘White Widow’ is a beautiful breakbeat joint running at 145 BPM. Lush keys & amazing drum textures, a real journey!

Andy Odysee has delivered the goods here big time!

We can’t wait to share this music with you.

Lee - SSR

Perhaps a drum is a space wrapped in material.

With some excitement the space and the material interact to produce vibrations, which we hear. Separately, yPLO prepared some sounds in advance of a performance based on the components of a speculative drum kit

ob TRU was performed and recorded live on 6/8/18 at Cafe OTO. During this live performance yPLO used amplified mylar, floor tom bass drum, mixers, audio recordings and microphones.

The recordings were mixed and edited into 8 discrete tracks.

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yPLO (Paul Abbott & Michael Speers) is a project about imaginary drums and rhythms, using acoustic percussion and synthetic sounds.

Michael Speers is a musician from Northern Ireland who works with various sound materials — using drums, computer, microphones, feedback — in performance, installation and composition. Other collaborators include John Wall, Louise Le Du, Olan Monk, Niklas Adam, Lee Fraser and Seijiro Murayama.

Paul Abbott is a writer, sound and performance artist. He has played at venues and festivals internationally and was a resident at Cafe OTO. He completed a PhD at the University of Edinburgh under the supervision of Florian Hecker and Nikki Moran, and is currently undertaking research at Royal Conservatoire in Antwerp. He is also the co-founder and editor of Cesura//Acceso, a journal for music, politics and poetics.

Our seventh vinyl chapter at Small Great Things is presented by our residents Quadrakey. The limited vinyl and digital release, titled "Head Over Heels EP," consists of three original tracks and two remixes. This collection seamlessly fuses deep and classic house vibes with contemporary beats, ensuring a fresh dance floor experience.

Starting with the A1 side, 'Head Over Heels' kicks off the journey with a deep house groove complemented by stabs and a robust bassline. Moving to the A2 track, 'Yeah' takes center stage with its infectious groovy bassline, piano chords, and captivating drums. The A3 track, "2 Ways Out," adds a touch of nostalgia with hints of the 80s.

Flipping over to the B side, we come across two remixes. On B1, Luca Olivotto delivers a disco-house dance floor-ready cut, featuring vocals and guitars. B2 presents a fantastic remix from DJ Merci of the track "2 Ways Out," where he reinvents the entire production, crafting a deep house gem.

Few artists have done as much as Heinrich Dressel to rekindle the genre of soundtracks. Even fewer are as capable as the Italian at writing such silver screen scores. Yet, Valerio Lombardozzi is much more than just one style. He has shown this time and time again, doing so once more with The Obscure Cities. Works of fiction, rather than film, are the fount of inspiration with tracks drawing on the likes of J.G. Ballard, Francois Schuiten, Benoit Peeters and Valerio Mattioli. The listener is transported to worlds of Dressel’s own making, landscapes of melody, textures of bass punctuated by drums. “Galatograd” opens. From understated beginnings, the track expands into a symphony of strings as columns of warmth descend. Tempos rise for “Eden Olympia”. A different tone is set. Juddering arpeggios and clean snares are elevated by bright and hopeful keys that sparkle with an enthusiasm and innocence. Deep unctuous bass gives way to gliding notes for “Remoria”. A piece where melodies and memories melt in the morning dawn. “Mylos” is the last visit of the EP. Delicate, almost fragile, notes are buttressed by drum patterns in this hazy dreamlike finale.

Episode six of the Afterhours. saga is here. Veteran sound crafter Jay Tripwire joins forces with Real Gang's Danny Miller for a three-cut EP delving deep into highly textured, exquisitely detailed minimal arrangements.

The appropriately named "Greasy Grooves" juxtaposes three groove-centred compositions of different tonal energy yet similarly high levels of sophistication. A-Side's 'Cut001' carries a definitive after-hours vibe: evolving atmospheres, stomping rhythmic arrangements, airy melodic pads and growling textures — basically all the right ingredients for the post-sunrise periods of resilient raving. B-Side's 'Cut002' is the most cinematic, even enigmatic, offering here. But regardless of its eerie character, its focus is still very much on drum arrangement and incessant locomotive swing. 'Cut003' closes the EP with prime-time vibes, cow-belling through a slightly acidic, powerfully dubby techno groove.

Bread & Souls is an ensemble of musicians, singers, DJs, producers and most of all, friends: a global family brought together by Franco Fusari under the musical direction of producer/electronic jazz pioneer Mark de Clive-Lowe.

Chapter 1 features vocal and instrumental tracks kicking off with an incredible exclusive: for the first time together on the same track West London Queens Bémbé Segue and Vanessa Freeman deliver a broken beat future classic. Paul Randolph features on a superb boogie tune, while Domu delivers an amazing remix of “Little Did I Know” - after almost a decade’s absence, he’s as brilliant as ever. And all supported by a great band: MdCL (keys), Tommaso Cappellato (drums), Marcus Machado and Landy Shores (guitars), Max Luthert (bass), Taku Hirano (percussion).

This is Fugazi's fifth full-length record, released in 1998.
The 12" LP format was re-cut and re-issued in September 2009.

Ian MacKaye vocals & guitar Guy Picciotto vocals & guitar Joe Lally bass Brendan Canty drums

Heels & Souls Recordings roll into reissue number eight with a double dose of early '90s UK street soul magic, splitting the sides between two sought-after cuts from Elaine Vassell and 3rd Zone.

Step back to 1993, house music has hit, UK Soul is in full flow and its rawer, DIY street soul sibling is making its mark across the UK’s underground. Fuelled by accessible, affordable production gear and ignited through enthusiasm and an influx of ideas and sounds, two acts drew inspiration from a melting pot of genres they were exposed to, providing their take on soul as they saw it.

Up first, Elaine Vassell - ‘Never Give Up’. A rough breakbeat-driven, mid-tempo groover from a North West London production triple threat, made up of Longsy D, Pinky and Murray. Utilising Pinky’s home studio with its DX7, Juno 106, LinnDrum and 808, they masterminded a track that sits at the intersection between soulful house, hip hop and R&B. Its crunching drum loop, chest-rattling low-end and serene synth lines, lay the foundation for Elaine’s powerful yet emotive voice to take centre stage. ‘Never Give Up’ should have been a future classic, but never quite found its feet.

On the flip side another 1993 gem, as Sansel Ali and twin brothers Mark and Stephen Anglin joined forces to form 3rd Zone. Conceived in Mark’s makeshift bedroom studio, the trio laid down their first foray into recorded music, ‘You Stole My Heart’. Originally promoed as a limited whitelabel in 1991, it officially landed on the group's one and only EP ‘No Real Reason' in '93.

Armed with a handful of synth modules, a drum machine and a Korg M1, Mark, Stephen and Sansel hit with a tough but tender, underground triumph. Part dance, part romance, layering synth strings, chunky breaks and M1 stabs underneath Sansel’s heartstrung vocals and Stephen’s hip house rap interlude, it provides another perfect example of house seen through the street soul prism.

Two timeless tracks that fly the flag for the fact that big studios and big budgets aren't necessary to create songs that really resonate. Each side also contains an alternate version, with the A housing a beatless reprise of ‘Never Give Up’ and the B a tougher, bassier remix of ‘You Stole My Heart’.

Licensed from Pinky Music and 3rd Zone respectively and remastered from the original DATs by Justin Drake.

2026 Reprss

Hi-NRG synth pioneer Patrick Cowley moved away from his usual robotic steeliness on 1982’s “Primitive World,” drawing instead on the groove rock of early 1970s gay discos. It’s a percussion track influenced by Baba- tunde Olatunji’s 1959 hit “Jin-Go-Lo-Ba,” made more famous by Santana’s 1969 cover. Cowley updated the sound for the 1980s with electronics and drum machines but kept the playful attitude of the original. Two choirs of voices chant back and forth to each other, giving Cowley a chance to include many of his friends from the San Francisco dance music community.

This has been DJ Hifi Sean’s year, with a best-selling album with David McAlmont , count- less live gigs and high-profile remixes to his name. His interpretation of Cowley’s “Primitive World” can be counted among his best, bringing an intense TB-303 acid house vibe that perfectly complements Cowley’s weird electronic blips and bleeps. The effect is a disorienting mix of psychedelic 70’s groove, 80s synth pop, and 90s tacky house vibes. “Primitive World,” is one of the brilliant standouts on Cowley’s final record, Mind Warp, the so-called “death album” written as his health was rapidly sinking. Hifi Sean’s new remixes pay tribute to Cowley’s genius while fusing the track even more strongly to dance music’s electronic future.

PB teams up with the dub-wise wizard and fellow Leodis dweller Breakfake for a 4-track release concluding the PBR EP series. Starting off with a UKG steppa ‘Life in Stereo’ hard hitting drums, deep sub, with floaty chords and chops. Followed by the dark garage/ dubstep belter ‘Rat City’ making you feel like you are stuck in Silent Hill itself. The B side brings a more energetic dubstep feel with ‘Chapel Town’ named after the area in Leeds PB & Breakfake first met and is known for its Dub history. The Ep ends with ‘Dub the Acid’ a hypnotic dungeon track with deep subs and a bouncy acid to match.

A classic slice of mid nineties UK House Music with some of the key figures of that period all on 1 Record!

Armed with soft chords, slick 90's drums licks, and rolling low-ends alongside a vocal samples flipping at the heart of both sides.


"I want to explore deep space
and uncover the hidden treasures there
there is a land of just men"

Record Kicks presents Keep It To Yourself, the new album by premier Dutch soul band The Tibbs, out next January 26th.

Dutch vintage soul combo The Tibbs are back with their highly anticipated new album Keep It to Yourself, to be released on LP, CD and digital format next January 26th on Milan-based label Record Kicks. Produced by Paul Willemsen (Michelle David) and mastered in Nashville by soul veteran Bob Olhsson, who used to cut vinyl for Motown back in the day, the new album Keep It to Yourself is the band's third Long Play. It contains 12 fresh 'n vibrant tracks that once again will take you back to the golden days of soul music. Prepare to be swept away on a groovy, soulful odyssey with one the most sensational and enchanting soul bands from the Netherlands!

From the very first note, The Tibbs' musical prowess exudes a soulful, funky energy that is nothing short of mind-blowing. Among the 12 new tracks of Keep it To Yourself, we find the first single "Ain't It Funny", a high-energy stomper that sets the tone for the entire album, the New Orleans funk inspired "Can't Teach an Old Dog New Tricks" and "Chicken Bones, "In Orbit", an emotional and heartfelt love ballad that allows the velvety vocals of singer Roxanne to take center stage or the northern soul belter "Give Me A Reason".

Lyrically, Keep It to Yourself is a poetic wonderland, delving into the depths of love, heartache, but also social issues and the need to preserve the world we're in. Roxanne's vocals, rich and velvety, take you on a euphoric journey through the peaks and valleys of human emotion. The harmonious blend of the horn section weaves an exhilarating tapestry of sound that can only be described as a symphonic supernova. The rhythm section is an unstoppable force, driving each track with a pulsating groove that is pure sonic adrenaline. Keep It to Yourself is a true tour de force, a symphony of soul that will leave you awe-inspired, foot-tapping, heart-soaring, and utterly enthralled.

Based around Amsterdam, The Tibbs is a group of seasoned musicians who draw inspiration from the timeless music of the 1960s, channeling the emotional depth and raw authenticity of that era's classics. Led by their charismatic female vocalist and backed by a powerhouse lineup of drums, guitar, bass, organ and a three-piece horn section, they have been wowing audiences with their live performances. They took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016, their first LP Takin' Over marked their debut with Milan-based imprint Record Kicks. In late 2018, singer Elsa Bekman decided to focus on a solo career and The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time with their sophomore album Another Shot Fired, released in November 2020. Now, with their third album Keep It to Yourself, a testament to their dedication to keeping the soulful spirit alive, The Tibbs are once more ready for lift off.

Latest release on Earthtrax since 2020. Multi genre release with two tracks, one leaning towards dubstep, dub techno and ambient while the other is more up tempo, driving and jungle/drum and bass oriented with an ambient/atmospheric quality, which is apparent in both tracks.

Eusebeia & Aisatsaana already have a rich and diverse back catalogue together and this release only serves to affirm and enhance that. It is their first physical release together.

Step into Simplexia's new adventure, where MOOD presents a journey that will take you to feel the freedom to play it making the dancefloor explode in pure ecstasy.

Crucial EP contains 3 original tracks and 2 remixes.

We love all tracks for his unique, whimsical sound: catchy melodies, House/Break-Beat/Electro drums, and an irresistible sense of party. Naux picks up the essence of ''Oblivion'' to transform it into a Bomba, bringing out its strong roots in French House.

Adrià transforms ''Electric Tribe'' into a mix very different from the original, making his Electro influence very present.

This release is a must have in your collection.

Five trombonists and a three-member rhythm section: that sort of unique musical synergy is what Nabou Claerhout brings to life with her own Trombone Ensemble. For years, such a project had been one of the dream projects on her bucket list, and thanks to Antwerp based cultural actor Rataplan, she already saw the creation become a reality in spring 2022. In the summer of that year, the eight-piece ensemble opened both Gent Jazz and Jazz Middelheim.

In January 2023, Nabou was artist in residence at the Brussels Jazz Festival in Flagey, where she presented the Trombone Ensemble as one of three carte blanche projects. In a sold-out Studio 4, American trombone legend Robin Eubanks joined the line-up as a special guest, having previously also contributed during the studio recordings of the young collective during. The band's self-titled debut album will be released on November 3rd 2023 via W.E.R.F. Records.

Nabou composed the entire repertoire for this Ensemble herself, and did so with a fully open vision. While writing the music, she explored the trombone's wide possibilities: "The aim is to both indulge you with warm, soft, carrying parts and then afterwards discover the trombone's spicy and cordial character." That rhythmic playfulness, which we hear more often in Nabou's compositions with her acclaimed quartet N?BOU, also seeps subtly into this band's sound.
Despite the 'unusual' line-up of five diverse jazz trombonists, each with a different background, you still get to hear a very homogeneous sound, which is full of playfulness and small details. "I tried to make room and focus for each individual. And of course there is also a starring role for the rhythm section with guitar, double bass and drums."

When Nabou started looking for the dream fellow jazz musicians for this project, she ended up with artists from her own country, Belgium, but also from far beyond the country's borders: The Netherlands, the UK and Germany. "In selecting the trombonists, I looked for specific timbres, but also for personality. It is important that there is a good balance in playing together, but also that each musician is strong enough on his or her own for the solo parts."
Wanting to push boundaries in her approach to both compositions and the trombone as an instrument, the real crème de la crème of the newest generation proved indispensable. "I selected a handful of European trombonists with whom I may or may not have already played, but who, above all, inspire me very deeply. They are all young people who have a lot to offer and already have significant projects to their name in their own region or country."

ASEC reveals the 'Group Dynamics' record, two hypnotic techno tracks and remixes from Inland and Kaiser.

"'Group Dynamics' is inspired by this kind of captivating energy you feel in a crowd--think sports fans, a packed dance floor, a mass of humans--people aren't themselves in crowds. I was interested in capturing that invisible social group dynamic that makes many people move as one." - ASEC

On the A-side of ASEC's 'Group Dynamics' EP, dropping via his eponymous imprint this February and following up a series of releases supported by the likes of Rodhad and Tommy Four Seven, as well as output on BPitch and MORD. The title track enters the fray with a mystifying energy, percussion clicking and shifting while cavernous synth hits echo across its evolving soundscape. 'Scala Naturae' then continues with rolling drums shot through with bleeps and squelch, the steady beat of weighty kicks footing its looming psychedelic sequences.

Side B invites Counterchange Recordings founder Inland and KSR boss Kaiser to remix the original tracks. First up, Ostgut Ton, Figure, and Nonplus+'s Inland remixes 'Group Dynamics' by adding scratchy textures and the thrum of long-forgotten machines before Kaiser reimagines 'Scala Naturae'. The Key Vinyl and Soma artist turns the track into a prime-time, tripped-out dancefloor cut.

Lastly, Inland provides a dub techno version of his contribution as a digital bonus, with ASEC dropping the excellent 'Enough Is Enough' on online platforms. In this track, typewriter-like hats skitter over imposing drums while warped melodics twist and turn on top, closing out yet another mind-melting techno offering from the Berlin producer.

Hailing from Palermo, Italy, Manuold brings his signature sounds to a fresh new outing on Four Framed Music. The underground house maestro has landed on the likes of House Puff Records, We_R House, and many more, always with his own unique take on the genre and standout grooves.

Opening up the EP is the fantastic “The Paradise” with swirling cosmic pads that bring great vibes next to an aching female vocal and timeless US house beats. “Glow” is another one for the purists with its surging chords and hi-tek soul stylings over dusty and deep drums that keep you moving. “Give Me Your Hand” brings smooth drum programming and icy hi-hats with well-placed vocal samples that bring warmth, and last of all is “Grey Sky,” a late-night charmer with deft cosmic pads and super slick house grooves full of class and charm.

Manuold shows his quality on this fine and futuristic four-track offering.

Zed Bias has been a bass, dub and garage king since forever, but his star shows no signs of diminishing any time soon. For this one he has worked with Shumba Youth on a new single that finds him dipping into a world of dancehall and ragga. 'London Town' is heavy, with real bass weight, churning drums and fizzing digital synths under the superb bars from Shumba who muses on the state of London right now. Next to that are slithering leads and sci-fi pads to make for a fine future vibe. The acappella is served up on the flip for DJs who want to play.

New tape from Gabber Eleganza's Never Sleep imprint.
This time its a live recording of Drum & Bass legend / Critical Sound boss Kasra at Fabric with MC's GQ and Mantmast.

The tape is in honour of Shaun Roberts, the sadly departed Fabric booker who was a pivotal figure in the UK's electronic scene. All proceeds go to Bowel Cancer UK

"Fabric played a huge role in shaping me as a music fan and years later became the London home for me and my label. This wouldn’t have happened without the help and support of Shaun Roberts, who left us far to soon in Dec of 2022 after an 18 month battle with colon cancer.

When the Never Sleep crew asked me to contribute to their mix series I knew id like to honour Shaun and help raise some money for Bowel Cancer UK.

Without Shaun and people like him taking chances on people like me the music landscape would look very different.

This is mix is taken from the Critical Sound 15th birthday event in 2017.

Official reissue of Dortmund's self-released single from 1981. For those in the know a sought-after gem, for everybody else the single you didn't know you need in your life! Comes in picture sleeve with the original artwork. Limited edition.

'Titanic' - quite self-explanatory - is about the queen of the ocean and her sinking as a ship believed as unsinkable. Starting off with its morse code-like sounds it evolves into a heavy grooving mélange of alternative rock, funk, new wave and synth pop.

The B-Side 'The Deep' explores depths you didn't know about. This instrumental jazz boogie funk fusion piece takes you on a five minute journey that will be your life-saver on any day.

In the early 1980s the scene of the Ruhr area was alive and kicking but still under the radar. Musicians played in different bands and projects of various styles. Three guys gathered simply under their city name "Dortmund" and did their own thing which led to this conceptual single - their only release.

Before that Elmar Krohn (keyboards) and Thomas Meyer (vocals, bass, guitar, keyboards) were part of the "Mardi Gras Band", a funk and soul band with a great reputation for their live shows. They were also involved in writing 'Blame It On The Boogie' which got performed by "The Jacksons" in 1978 but that is another story. On the drums they were joined by Siegfried Hermes who also played in the band "Die Salinos".

ISOR29 with a six track mini-album titled ‘Moon Phase Gardening’. ISOR29 is a new project from Columbian musician Tomas Garcia Station and follows on from his highly regarded 2020 debut release under the ‘Irie Nation’ moniker.

The title ‘Moon Phase Gardening’ (also referred to as Gardening by the Moon or Planting by the Moon) draws upon the idea that the lunar cycle affects plant growth. Just as the Moon’s gravitational pull creates the tides of the oceans, it also creates more moisture in the soil, which encourages growth.

Evolving out of forced time off, individual confrontation and the love for someone close, ‘Moon Phase Gardening’ was recorded in the living room of an old flat in Lisbon during the first lockdown. Using only a microphone, computer, Korg MS20, hang drum and a field recorder, ISOR29 channels Tomas’ musical vocabulary via electronics to reflect an immersive and self-reflective story bound to a uniquely powerful time and space.

'Experimental multi-instrumentalist Dave Cudlip releases his debut full- length album as Radiolarians via brand new experimental label Klang Tone Records.

Having already garnered plaudits from one of the most authoritative voices in UK electronic music, Electronic Sound magazine, the 10-track album presents a stunning and unique combination of ethereal ambient soundscapes, undulating rhythms and jarring sound collages; the result of what Cudlip describes as a “quick and spontaneous” recording process using a limited setup of analogue synthesisers and drum machines.

The release marks an exciting new chapter for Klang Tone, which is already considered a musical institution in the vibrant town of Stroud, Gloucestershire. The record shop, founded by avant-grade sound artist and obsessive crate-digger Sean Roe has earned a reputation as one of the South West’s nuclei for contemporary jazz, electronic and experimental music.

After the instantly sold-out limited edition lathe-cut 7” of the Radiolarians single ‘Obsidian 2’, Klang Tone is now proud to launch its label arm proper with Radiolarians as its first limited run vinyl release.'

Dave Cudlip was born in North Devon. After moving to Stroud as a child and playing in bands as a teenager, he left the West Country to study archaeology at Durham University, with his subsequent work as an archaeologist taking Cudlip all over Britain. After returning to Stroud, Cudlip has continued to make music, drawing on his love for the work of artists such as Harmonia and Autechre. He created Radiolarians in response to what he calls the “tyranny of choice” when it comes to electronic instruments, streamlining his creative process and consciously limiting his options to produce a veritable distillation of extraordinary ideas.

2024 Repress

Classic jacking tracks by Byron the Aquarius on Clone Jack for Daze. A 6 track ep that will make you dance till your numb. A big booming sound system in a dark room filled with big artifical clouds from the smoke machine, rattling drum machine with pulsating basslines, the hypnotizing lights from the strobe and you've entered the Land Of Confusion! Thats all we need to have a good time. Byron hits exactly that sweet spot with his take on the classic stripped down jack tracks.

This Is With Artmann an Artist Straight From Netherlands, That House Puff Records Released His 25nd Ep. He Produced 4 Tracks With His Proper Style.

Always the Same recipe, Organic Drums, Deep Chords and Thundering Basslines Suited for Summer Sunsets and Dark Dance Floors Alike....

Weldon Irvine was one of the finest American jazz pianist and composers of his generation. He released several classic albums man of which are now being reissued thanks to P-Vine, but not before being fully remastered for the occasion. Weldon and The Kats was one that he put out on his own label Nodlew Records after releasing some albums through RCA and Strata-East. It is perfectly indicative of his style and has his early work 'Mr.P.C' on it, which was recorded in 1968 with Steve Grossman on tenor sax and sometime Miles Davies associate Lenny White on drums. This one has never been reissued before so snap it up before it goes again.

Memory Remains boss Kirik joins forces with Miami’s Imbue for their collaborative ‘On Distance’ EP.

This time Kirik pairs up with the Miami-based trio Imbue who add their dynamic instrumentation to the project through guitars, piano, and synthesizer improvisation.

Opening the release is the jazzy funk-infused ‘On Distance’, laid out across seven minutes with an amalgamation of guitar licks and looped hooks alongside plucked bass tones, strings and organic rhythms combined to create a psychedelia-tinged twist on House. ‘All Right’ follows next and shifts gear into a more classic house feel, employing Latin percussion and wandering keys alongside guitar melodies and soulful vocal chants.

Opening the flip-side is ‘Lovers’ with its acid bass groove, intricately intertwined synth stab sequences and crisp drums all underpinned by Imbue’s hypnotic musicality. ‘Son Us On’ then rounds out the release, diving deeper into the House courtesy of bumpy low-slung drums, airy synth chimes and plucked guitars merged with an underlying dubbed-out and subtly unfurling feel.


early support by Massimiliano Pagliara, Archie Hamilton, youANDme, DJ Heather, Moskalus, Jean Pierre, Red Pig Flower, Red Rack'Em, Just Her, Michel De Hey and many more...

Making a remarkable step onto the CEP booth, Blame The Mono introduces their debut with a magnetic collection of two game changing original tracks. This release not only displays the duo's creative capabilities but also features melting remixes from Hermeth and the label head riko.

The release kicks off with the 'Kneebreaker Mix', showcasing a top-tier interplay of reese bass. The pushing bassline and dynamic vocals provide the track with its living strength. In addition to the effects, the midsection break-beat mirrors the timeless sound of Blame The Mono, showering the listener with unmistakable recognition value. Coming up next is likely the standout piece from the release. The 'Industrial Mix' manifests as a 117 BPM break, highlighting an remarkable synergy of hitting kicks, spicy drums, and leading vocals. This track radiates a rock and metal-inspired vibe, making it truly one-of-a-kind. Opening the B-Side is riko’s trance-infused remix, featuring consistent vocal shots from the original and a galloping bassline. In addition to the dub chords, the monotonous melody assumes control during the significant break in the middle, contributing a hypnotic quality to the track. Wrapping up the release, Hermeth introduces a techno-infused remix, characterized by powerful classic chords and a driving bass that sets the tone on the dancefloor. The original vocal and lead elements illuminate the track, firing it up with a distinctive flavor.

'London Accent' by Blame The Mono drops via CEP Records on 15th January 2024.

Kicking off our new Toolroom Trax vinyl series which celebrates the best releases from Toolroom’s sister label is Italian super-duo Twolate with the incredible new single 'Baila'. A straight-up 4 to the floor club shaker, with powerful hard-hitting drums, deep punchy afro vocals with carnival whistles and percussion hits that will turn the dancefloor into a fiesta. Two dance heavyweights collide on our next offering; best-selling house artist CASSIMM and Chicago house royalty Gene Farris for their latest collaboration 'Party People'. With numerous #1 singles and remixes on Beatport and Traxsource, CASSIMM returns to Trax with his notorious sound of feel-good, high-energy house music, team that with Gene Farris as he effortlessly delivers another irresistible vocal hook. 'This is for my people, my party people'. James Haskell kicks things off on the b-side with 'Check It Out'. With numerous releases on D4 D4NCE, LoveJuice and of course Toolroom, James Haskell is fast gaining support from the scenes top tastemakers including Bob Sinclar, Leftwing : Kody, David Guetta, Tita Lau and Dombresky to name a few. Gracing club hotspots around the world, James Haskell is set to top the charts with his Tech House and Big Room sound. Closing out the Sampler is Toolroom Trax A&R and Music Curator Danny Rhys with his percussive tech house weapon 'Sibali'. Following on from his 2021 Traxsource number #1 single 'Damn Good', in collaboration with house vocalist legend Mr. V. With releases on respectable labels such as Farris Wheel Recordings, Flashmob, HouseU and There Was Jack, Danny Rhys boasts high, feel-good energy, bumpy basslines, rolling percussion and infectious vocals that has since gained respect from AAA talents such as Gorgon City, TCTS, Kryder and of course Mark Knight.

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

After 10 years of Freakadelle Recordings and an even longer existence of the eponymous association, the time has come for the Salzburg collective to make a change and release its first record under their new imprint vierundvierzig.

It also marks the first solo release by Mad Rider named "fmrann8", which contains 7 tracks that originated during the pandemic and were finalized after the opening of the clubs. These two different states - undecided whether we want to dance or go into hiding – are not only reflected in the music, they are also made visible in the cover design, which can appear colourful and monotonous at the same time.

On the one hand, you can hear the longing for long club nights from a time when going to the club was not possible. On the other hand, the deceleration holds us as if we were sitting on fluffy clouds, not knowing what Mad Rider's modular synthesizer, fed with unconventional drums and field recordings, or the future will bring next.

For SPACEDUST7, we welcome Jay Gadian to the label, who steps up 4 forward-thinking electro cuts for 'The Mispress' EP.

On side A, murmurs from beneath the warbling top line of 'Sensory' evoke memories of dark, heady corners of the dance floor, whilst the fog clears with the sharp percussion work of Green Dimension.

The flip opens in a more subdued manner with the circuitry of '20 or More' gently weeping, before 'East' closes off the record with laser beam synths cutting through washes of tense strings alongside further crisp drum work.

“Pulses and Resonances” is Rene Lorenzo’s debut album on Subtempo. This album represents a culmination of more than 20 years of electronic music exposure as a DJ and a clear point of view. We can hear influences of broken beat, techno, drum & bass, all through the unique lens that Rene brings to the table, deeply steeped in ambient, deep techno and downtempo. Even though this isn’t a dance record, it’s filled with energy and drive. It is an out-of-the-ordinary album, with intricate shifts and turns with well-crafted kick drums, round bass lines and enveloping subs. A record filled with warm sounds, head-nodding rhythms, and rich textured spaces. It’s all woven into an easy-listening experience, without demanding the listener’s full attention, but creating a landscape that is unique and varied throughout. We can hear references to artists like Boards of Canada, Jan Jenilek, Synkro and the like.

“In this record, every track has a different pulse or rhythm, and I use different resonators in the sound design process to achieve these tones. I started by leaving the space open with the ambient pads and hardly any rhythm, and I’d let myself be carried away by my sense of rhythm slowly building the compositions. I am obsessive with audio processing and I almost never leave a sound in its initial form. I like to add some subtle effect that sounds like something different and give new sounds to the elements I use.”

“Pulses and Resonances” is out via Subtempo on vinyl and digital on February 2nd.

black.round.twelve is expanding its world and creating a new series focused on releasing long cuts of music spread over an entire record, appropriately named E X T E N D E D. Berlin-based Polish artist Maki Polne opens the project with two intensely hypnotic minimal tracks brimming with detail and production value.

Highly influenced by Berlin, CdV-rooted Maki Polne‘s acute love for quality sound is evident in “Don Joy´s Magic Sunday”, as both ‘Magic’ (A) and ‘Sunday’ (B) sound clear as crystal, with a frequency spectrum that’s both wide and colourful. With a strong focus on psychedelic sounds, ‘Magic’ is built around a breaky, half-time beat filled with slightly shuffled drums. A collage of warped textures, vocal snippets, synths and quirky bass stabs fill the remaining space with class, making it easy to imagine the cinematic soundscape working its on any bold dancefloor. ‘Sunday’, on the other side, is a more functional, 4-to-the-floor bass-heavy roller full of bright colours. Echoed vocal loops and rising pads create a particular vibe that would sound totally at home on a Sunday morning at CdV. Extended tracks for extended mornings, no doubt.

Decay Records celebrates its tenth anniversary with a new EP from Italian duo Neverdogs, backed by remixes from Nu Zau and Ivan Iaobucci.

Over the past decade Decay Records has firmly cemented itself as a purveyor of sophisticated stripped back house sounds, releasing music from the likes of Shaun Reeves, Mihai Popoviciu, Christian Burkhardt, Alex Arnout and of course Neverdogs duo who return here to mark the labels milestone ten years of existence. The Italian Neverdogs duo have been steadily making their own mark over the past decade through material on Bamboleo, Kluki, This And That and Tamango.

Title-cut "In The Mood" leads with crisp drums, hazy atmospherics and a dynamically evolving construction. Ivan Iacobucci's twist on "In The Mood" follows and shifts the original into a murky, twisted interpretation with choppy stabs, glistening textures and crunchy drums intertwined with fragments of the original.

"Lion Heart" follows on the flip side and lays focus on a bouncy bass groove, plucked synth stabs and shuffled percussion before Nu Zau's take on "Lion Heart" rounds out the release, employing twisted acid squelches, dubby synth flutters and subtly nuanced drums all unfurling across its six-minute duration.

Ray Mono, who first came onto the scene as a resident at well regarded Leeds party Mono_Cult more than a decade ago, is now helming the label of the same name.

After a notable first outing, he is quickly back with another of his supple and subtle minimal workouts. 'Synchronicity' is a brilliantly warm and bubbly opener with balmy pads and sci-fi signifiers, while 'Awakenings' picks up the pace for a more driving and late-night tech house vibe that oozes drum funk.

'Synchronicity' then comes as a Nu Zau remix with more chattery percussion and textured bass rumbles, and Sepp's remix of 'Awakenings' is deep, bumping minimal house. A super fresh EP once more.

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.

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.

This is a welcome return to the label for Amazingblaze who released his Can't Stop EP in January this year and his Venture EP in 2022. Since then he has continued to innovate with his heavy-hitting trance, techno and hardstyle influenced sounds. His ever evolving studio skills see him mix up old school influences with new school sound design that is perfect for engaging dance floors. His signature imprint is all over these four new cuts with their mix of big synths, bigger drums and all consuming grooves.

“Believe EP says it itself. All I wanted to say is that you have to believe in yourself”, Amazingblaze says. “This brand new EP contains 4 full-power tracks that definitely goes through your heart. Massive trance synths combined with vocals make it sound really mysterious and groovy. Hope you enjoy it, and believe in yourself.”

Charlotte de Witte adds: “It’s no secret that to me, Amazingblaze is one of the purest talents out there. This guy really understands what music is about and manages to create dancefloor bombs time after time. I’m super proud to have him on board for another EP on KNTXT and to watch him grow and become one of the top level artists out there.”

'Believe' kicks off with intense drum patterns and smart vocal samples that are lit up with bright and electric synths full of euphoric energy. 'Strange Candy' is a bulky and physical mix of clipped techno funk and throwback rave sounds with strobe-like lasers shooting across the face of the track. There is more peak time brilliance in the hard drums and hands-in-the air synth magic of 'It Happened Again' while 'Boyz Makin Noiz' shuts down with twitchy stabs and twisted acid lines and dark vocals appear from the shadows.

Amazingblaze delivers yet another exceptional EP, seamlessly blending forward-thinking techno and trance elements.

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.

For their next release, Futuribile looks to the work of Salerno star Carlo Fontana, presenting a set of hard-to-find & unreleased treasures titled ‘La Musica Del Sud.’

Carefully remastered at the West Hill Studio, the collection of tracks — which features contributing arrangements from Tullio De Piscopo — forms a moody pop funk paradise, with jazz horns and soul brass layered together, and amorous vocals crooning, supported by lush harmonizations and greasy gliding bass. Disco beats and exotic drums dance, prismatic pads and soft synths seek the stars, piano and guitar sing a spaced out blues, and amidst the moving grooves and deep swinging jams, moments of beautiful balladry emerge to touch the spirit.

Carlo Fontana's work is further testimony to a courtly and sophisticated musical aesthetic in vogue in Naples (and surrounding areas) between the 70s and 80s which had as its main proponents and protagonists exceptional musicians such as Joe Amoruso, Tony Esposito, Pino Daniele, Elio D'Anna, Enzo Cervo and many others.

Romania’s Constratti delivers his ‘Late Summer’ EP via Yecad, comprising two originals and accompanied by remixes from fellow Romanian producers Sepp and Mihai Pol.

Residing in the capital city of Bucharet, Romania’s Constratti has been grown to become a beloved producer and DJ on the local scene and beyond, racking up releases on the likes of Storytellers, Aesthetic, Eagervision and more. Here though, Constratti joins the roster of Yecad, following on from material on the label by Barac, Dragutesku, Vlad Arapusu and Swoy amongst others.

Title-cut ‘Late Summer’ leads and sees Constratti lay down crisp drums and ethereal atmospherics intertwined with acid tinged bass in unfolding with a subtly nuanced feel. Sepp’s remix of ‘Late Summer’ follows and shifts focus to a more rhythmic fuelled feel, bringing additional percussion to the mix while stirring in vocal chants and fragments of the original’s atmospheric core.

‘Tempura Rolls’ opens the flip-side, diving deeper via bubbling synth textures, twitchy resonant glitches and airy chord sequences, underpinned by a rumbling low-end drive and low-slung drums. Mihai Pol’s twist on ‘Tempura Rolls’ then rounds out the EP, taking things in a more peak, dance floor focused direction courtesy of a gritty bass groove, saturated drums and the original’s smooth chords.

repressed !

A memorable Drumcode debut lands from Teenage Mutants, in collaboration with Heehorst and Peter Pahn, as 'Dark Clouds' lights up the sky. Collectively, the artists bring a strong pedigree to the table, having released on Terminal M, Filth on Acid and 1605 Music Therapy.

An anthem in every sense, 'Dark Clouds' already has the makings of one of Drumcode's biggest tracks of the year having highlighted events including Printworks, Awakenings at the Gashouder during ADE week and Resistance Abu Dhabi thanks to its thrilling dramaturgy that combines a stirring vocal line, thundering underbelly of acid and laser-focused b-line.

In the age of viral sensations and fast rising superstars, UMEK shines, a testament to hard graft, talent and playing the long game. We’re thrilled to have him on the label for his Drumcode debut.

The track is a rhythmic peak-time beast, highlighting Time Warp and Exchange in LA in recent times. It also saw the artist experiment with AI to create the heady vocal line. “There’s still a lot of work in the post-production process, but it’s certainly an interesting time when you can make use of these tools,” he shares.

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.

2024 Repress

For Frenzy's 5th installment, we'll take the fusion of the past and the present even further. We present you a 6-track EP by Swedish DJ and producer 'The Miller', who was amongst the Nordic wave of early 2000s techno pioneers like Cari Lekebusch, Adam Beyer, and Joel Mull. Coming from an era where rave and nightlife escapism were blooming, The Miller possesses a vast backlog of old-school productions that embody the true Frenzy sound. We invited him to compile an EP with old and new material, accompanied by remixes from the up-and-coming generation to truly intertwine generations of dancefloor exquisiteness. Allow yourself to surpass the linear alignment of time within the next collision of decades on Frenzy 005. It's time to dance.

Starting out slow but steady on the A side, 'Kartong' gradually builds up the pressure with a playful mix of reversed phrases and thoughtful alignment of pitch levels. Tension transforms into motion as 'Apex' kicks in with big airy basslines and exotic drum elements that keep the early-day spirit alive. To complete the A-side, Stuttgart-based Rove Ranger presents a dub-influenced remix of Apex, accelerating the 00s story straight into the next decade. On the flip side, we go back to the old days as 'Complied' grabs hold of hips and minds with catchy repetition and a straightforward bassline. The Miller got us spellbound as 'Gate' follows up with a stripped-down steamy groover. To end the journey in full force, a powerful remix of Gate by the Greek-based ANNE is delivered, converting stripped down into the contrary for those big-room dancefloor moments.