Cerca:the drum

DJ Support: SSSLIP, Voigtmann, Moxie, Domenic Cappello, Subb-an, Reiss, Roza Terenzi, Mr. Redley / Rinse FM, Hutch / Ambers / Fabric, Joe Koshin, ODF, Georgia, Marc Satseg, Make A Dance, Raresh, Secretsundaze, ADMNTi, Francesco Mami, B From E, Tifra, Kassian and many more

Handy Record's 'Natural Frequencies' Imprint returns for its 5th Release with Jinjé.

The four track EP 'Days like This' graces the label fusing sounds in the realms of Breaks , Bass , Progressive and techno.

Days like this opens up a new sonic realm for Natural Frequencies with flickering synth's, soaring analogue embellishments warping around a driving subsonic bass and crunchy drums. Delving deeper into the wormhole with vocal snaps and hypnotic layering, keeping your head down and energy up on the dancefloor.

Cleaning Out The Empty Administration Building ist Ross Farrars neuestes Werk aus rohem, gesprochenem Wort und experimentellem Sounddesign, hier präsentiert unter dem Namen R.J.F.. Der Frontmann der amerikanischen Bands Ceremony und SPICE begann dieses Soloprojekt zunächst als persönliche Herausforderung: Songs von Grund auf selbst zu schreiben, sich mit Instrumenten vertraut zu machen und dabei zugleich sein Unterbewusstsein freizulegen. Dabei ging es weniger um musikalische Virtuosität als um Verletzlichkeit - darum, etwas Ehrliches aus einem ungeschützten, unbearbeiteten, unpolierten Moment zu ziehen, kompromisslos amateurhaft und rein.Diese Sammlung zeigt Farrar im offenen, poetischen Dialog: mit Drumloops und gefundenen Klängen, durchbrochen von Gitarren, Bass und Tasteninstrumenten. Nach über zwanzig Jahren in der vertrauten wie chaotischen Welt von Band-Kollaborationen, legt Farrar all das ab - als Experiment. Das Ergebnis ist unverwechselbar und bewegend.Farrars Punk-Pathos ist in Spuren vorhanden, doch seine deutlichsten Einflüsse stammen von repetitiven Musikformen: Drone, No-Wave, Avant-Jazz und darüber hinaus. Seine nüchternen Texte erinnern an Lou Reed, Rowland S. Howard und andere große Exzentriker. Farrars Texte kreisen um Liebe, Sucht, Vaterschaft und das Leben in der heutigen Welt. ,Ich wollte Bilder schaffen, die die Menschen klar vor sich sehen können", sagt er. Farrar unterrichtete früher Schreiben und Literatur - und wendet hier ein einfaches Prinzip an, das er auch seinen Schülern mitgab: Nicht zu viel nachdenken. ,Ich habe mir einfach gesagt: Diese Songs sollen Spaß machen. Sie sollen nicht stressig sein. Zwei, drei Takes aufnehmen und dann gut ist. Nicht über jedes Geräusch den Kopf zerbrechen. Mach einfach das, was natürlich aus dir herauskommt - und wenn es sich gut anfühlt, dann nimm es."Aus hunderten freier Songs, die Farrar in den letzten Jahren mit geliehenem Equipment aufgenommen hat, kristallisierte sich dieses Album langsam heraus. ,Es kam einfach immer wieder."Der Ton von Cleaning scheint die Zeit zu verbiegen, versetzt die Hörer in eine Art Gang voller Songs, bei denen jede Tür in einen neuen Raum führt - Räume, die oft auf unheimliche Weise vertraut wirken. Der gurgelnde Bass des Openers ,Advance" taucht auch in anderen Stücken wieder auf, etwa im gespenstischen ,Ovidian", benannt nach Ovids Metamorphosen, in dem Farrar über das Wunder der Veränderung sinniert - begleitet von fernen Glockenklängen. Instrumentalstücke wie ,Gravity Hill" - ein Flattern aus Synth-Brummen und statischem Rauschen - oder ,Frogs", mit Saiteninstrumenten und perkussivem Topfschlagen, wirken wie tranceartige Zwischenspiele und verstärken die Wirkung der Texte drumherum.,Exile" blickt zurück auf Verluste, die sich nicht mehr reparieren lassen: ,So much of your heart caught in my exile", singt Farrar mit sanfter Resignation - über einer einsamen Klaviermelodie und schlingernden Gitarrenakkorden. Es ist das strukturierteste Stück der Sammlung und erinnert daran, dass Farrar ein Gespür für melodische Linien besitzt.Das Album endet mit ,Traveling Light From Afar", deutlich schneller als alle vorherigen Songs. Hier, über einem stoischen Motorik-Beat, spricht Farrar das zentrale Thema des Projekts direkt an:,I've been so young in my old age / Selfish & self-pitying / But that's just narcissism - man."Genau dieser Balanceakt - zwischen schonungsloser Selbstbefragung und der Klarheit, die mit dem Älterwerden kommt - schafft Raum für Entwicklung. Farrar leert das Gebäude - Zeile für Zeile.

Fishing for Gravel is the debut solo mini-LP from Dublin-born, Amsterdam-based producer Paraflow (aka Niall Rogers), via Superconscious Records. Known for his work as a music supervisor and dream pop collaborator (Officer John), Paraflow dives deep into a world of EBM and dub-infused electronics-granular textures, mid-tempo chug, and flashes of blissful uplift driving seven tracks of earthy, drum-heavy synthesis. Includes a rugged remix from Superconscious' own FIO. For fans of Jonquera, Parchman, BPM AM.

Kicking off our VA series we’re pleased to present Frequencies Vol. 1. Six brilliant artists covering a variety of dancefloor moods and energies.

The Belgian duo A.G. & Kompo have delivered an extended slice of punchy minimal techno for the A1, with elements of tech house and progressive leaning synths scattered throughout. David Agrella’s welcome return to Seven Hills sees him developing the late morning atmosphere titled Amfexa, utilising a groovy bassline, classy pads and some expertly organic drum programming.

On the B side the Hamburg based Rupert Marnie and our beloved Dutch friends Young Adults add a darker tinge to this release. Parapsychic is a gurgling meditation; very minimal which allows the drums and alien sounding bass sounds to punch hard through the mix. Closing us off is Exothermic, a monstrous, almost hellish bit of deep tech house.

Lots of textures, a rubber elastic kick drum, and a hypnotic, groaning vocal which sounds as if it was dredged up from the underworld.

Saint Paul has long since proven himself as a fine curator of dusty beats across the deeper house and disco spectrum. He is part of the Moonrise Hill Material crew and now lands on Saint Wax with his first outing of the year. 'The Chosen One' brims with joy from the shimmering chords and vocal chops while bumpy drums get you moving. 'Pour L'Amour Du G-Funk (69 La Trik)' is a funky jam with smeared pads and excitable synths then 'Bay Disco Orkestra' brings a percussive twist and retro disco vibe. The trio of flip-side cuts explored slower, more soulful deep house and jazzy grooves that overflow with musicality, while a Gledd remix brings a lovely Latin skip and shuffle to 'Don't Hold Back Da Groove'.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Jason Velo hails from Wisconsin and has been DJing for years, mostly in the rams of Chicago and Detroit house., He has recently decided to branch out into production and this latest outing comes on Noonish and is deep, groovy and minimal house for afterparties in cosy basements. Opener 'Dream Wheel' has diffuse, humid chords radiating out of a gentry bumping deep house groove, while 'Slow Burn' is just that with its horizontal vibes and gentle patter of drums over a nice rolling bassline. 'Lost Remote' is far less anxious than the situation it describes, though it does have a more eerie and cosmic feel than the others with its deft melodies and larger sense of scales. Tasteful stuff.

An ever-present name in underground house, Alex Celler is back once again on Baby Ford's cult Trelik label. This is his third and maybe best outing yet with 'Twilight Firedancer' being a long and extended dub tech workout with wobbly bass and off-balance drums topped with glowing chords that bring occasional relief to the pressure of the groove. 'Mescaline' is much more busy with abstract pops and squeaks, synth modulations and an urgent, tightly programmed minimal tech groove that you would expect of this label. It's high-class music for mind and body.

Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context.

Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow.

Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo.

Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.

Sleeve art and design by Michael Willis.

Mr. Face, a four-song EP that's a terrific showcase for Segall's artfully ragged style. He plays everything on these recordings with the exception of one drum part on one song. - NPR Fresh Air / Segall appears decidedly more at ease, or even at peace, on the four tracks, but while they build upon acoustic foundations, the tracks quickly take different shapes filled with sublime guitar (and piccolo!) solos that are utterly transfixing."- Exclaim / The real testament to Segall's growing maturity as an artist, however, comes with closing track 'The Picture', one of the most subtle and moving songs in his entire catalog. Segall's guitar sounds like it's scoring a dazed carnival ride as he lays out a tale of learning to say goodbye. - Consequence of Sound

LTD SPLIT COLOUR TRANSLUCENT RED/BLUE VINYL W/ 3-D GLASSES** Back in 2015, Ty Segall released Mr. Face EP, the fantastic gatefold 2x7" was not only packed with four killer jams but was also quite possibly the world's first playable pair of 3D glasses. Now Famous Class Records is thrilled to release a 10th anniversary 12” vinyl edition. All copies are pressed on split color translucent red and blue-colored vinyl and come with special Mr. Face 3-D glasses to activate the supercharged 3D artwork.

Drummer and Composer David Lee Jr.’s stunning and rare album Evolution (1974) blends the deep experimentalism of John Coltrane and Sun Ra with the pulsating second-line and parade rhythms of New Orleans to create a stunning sonic and rhythmical tour de force. In a lineage of incredible New Orleans drummers that includes James Black, Idris Muhammed, Zigaboo Modeliste of The Meters, and stretching back to Earl Palmer and Baby Dodds, David Lee Jr. stands out for his fire, experimentalism and an out-there-ness like no other. 'Evolution' is a super deep, ‘lost classic’ radical and groundbreaking deep spiritual jazz album. Originally released in New York in 1974 (400 copies only ever pressed!), ‘Evolution’ is an extraordinary one-off solo album, pressed on the artist’s own Supernal Records, a record company whose slogan ‘seeking creative progress’ and dedication ‘to peace and freedom’ clearly displayed artistic intent over any commercial or market-led forces. David Lee Jr was born in New Orleans and the deep experimental drum-compositions featured on ‘Evolution’ are as rooted in this southern city rhythmically as they are in the spiritual and metaphysical musical ideas of Afro-Futurist pioneers like Coltrane, Sun Ra and others. In the early 1970s Lee Jr. headed off to New York, playing in Roy Ayers’ Ubiquity and later immersing himself in the thriving loft deep jazz scene playing with Leon Thomas, Lonnie Liston Smith, Harold Alexander, Charles Rouse, and recording for a host of seminal deep jazz labels including Strata-East, India Navigation and Flying Dutchman. Today 'Evolution' remains one of the rarest and heaviest of all deep and spiritual jazz albums ever made. One-off super-limited edition magenta colour vinyl, newly digitally remastered, complete with new reproduction artwork, sleevenotes and download code.

In 1983, Chateau, a San Francisco based boogie funk band, won the KRE Radio Hot Fun In The Sun Battle of the Bands in Mosswood Park, Oakland. As a prize, they received $5000 (approximately 8 hours) of studio time and a pressing run of 200 45s.Chateau included Alan Ross on lead vocals and percussion, singer Damara 'Candy' Stepney, and Kevin Dailey who sang and played saxophone, bass, and guitar.

Melvin Jones was on horn and keys, Dennis Knepper played keyboard, Frank Lemon played drums, Lemon's cousin Michael Clark played rhythm guitar, Doug Hearne played guitar and Bill Ortiz (from Santana) contributed trumpet parts.Chateau only released one 7-inch single in 1984, but to this day 'Feelings' is, arguably so, one of the most sought-after West Coast slices of funk.Jerome Derradji and Past Due Records are proud to officially reissue this incredible slice of boogie. Originally released in 1984 on Quiet Storm Records, San Francisco.

The Rebel returns on Legofunk with the first two tracks of his new album World of No Nation out this summer. Ethnic influences, a jazz touch and a clubby perspective in these completely original songs also thanks to the collaborations of excellent musicians from the roman scene and beyond.
Atom's Dance - produced by Tommaso Taroni, keys David Assuntino, flute Livio Ricci, drums Federico Balestra,percussion Nené Vasquez, double bass Luca Lauria.
Jungle Jazz - produced by Tommaso Taroni, Congas Massimiliano Troiani, sax Matteo Acclavio, Keys David Assuntino.

Four Flies is thrilled to present the very first release of Gianfranco Reverberi's hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".


In 1973, a mysterious 45 rpm single surfaced under the name 'Sharon Chatam e la sua Orchestra.' The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, "Psicolimite," was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the 'Sharon Chatam' moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible.


This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.


While the film, despite some critics praising it as "psychotronic," is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.


Reverberi's reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).


But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.


The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks.


Available from November 22!

Original Gravity Records Ignites the Summer with Latin Fever Vol. 4

Available on Limited Edition Vinyl & Digital Platforms

Original Gravity Records turns up the heat once again with the explosive release of Latin Fever Vol. 4 — the highly anticipated fourth instalment in the label’s signature Latin groove series. Packed with sizzling salsa, fiery guajira, and vintage Latin soul, this EP is a globe-spanning collaboration anchored in the UK and powered by musicians from Peru, Cuba, the USA, and Italy.

From the opening tumbao of El Tumbao Del Solar by Abramo & Néstor, to the irresistible charisma of Chévere Girl by Luchito & Néstor, this record is a celebration of rhythm, culture, and cross-continental energy. Flip the wax, and you’ll find La Vieja Escuela serving up Vacilar Mi Guajira — a classic throwback dancefloor gem — before Néstor Álvarez brings the party home with the brass-heavy burner La Fiesta Se Va.

With drums, bass, and production led by OG’s own Neil Anderson and a tight brass section along with standout soloists from both sides of the Atlantic, Latin Fever Vol. 4 is pure analog fire — recorded with heart, soul, and serious groove.

Whether you're a crate digger, DJ, or just a lover of Latin rhythms, this is one for the shelf and the stereo.

Get it while it's hot. This is Latin Fever — and it's contagious.

Surprise Chef press two standouts from their latest album Superb on a 7" for a straight fire two-sider.The A side "Bully Ball" kicks in the door like the fellas have something to prove_Thundering drums start the affair then a haunting piano riff, guitars, bass, and glockenspiel trade places pushing through the speakers and mesmerizing the listener. The B side "Consulate Case" is another turn it up to the red banger that is sure to fill the dance floor. The rhythm section is full blast right out of the gate and the synth teases in a lush piano part that puts this one over the top and commands your attention.

Trip Maps 3 is a compilation of psychedelic / electronic oddities written by The Future Sound of London under various guises.

The Trip maps series (now at Vol.3 ) is created in conjunction with charity label Touched Music.

Live drums and bass mash with bizarre electronics , feels like the past but definitely the Future …….

The second part of Roy’s return to Emotional Response and the While Line Sunrise series dives further in old Hard Drives and DATs to unearth more lost techno for the brain, heart and feet.

Ensuing melody for driving beats, Fenix Haus 6 is a TB303 blast. Electro meets acid, the focus is on the rhythm, percussion is pushed to the fore and the rest will follow. Exit Ren8 brings some melody touches to the jacked-up ride, acid melodies ride classic Roy beats, programming for the mind and soul.

As with Part 1, here the flip expands the retinae of the found sound, Cristia Theme with flourishes of IDM and industrial touches, wrapped in a sheen of acid squelches and snap hats.

The series completes with the theme, the ambient meets kosmiche of White Line Sunrise III. Minimalist keys against cathedral sweeps, motorik drums float in and are gone, a grandiose ending with, as always, a light hearted ending, Roy’s return is a welcome and an intriguing interlude.

A year on from Dawn Again's pubwave classic Every Dog's Hotel, the Australian producer returns to Hell Yeah with more dreamy, breaks-driven downtempo brilliance.

Melbourne-based Nick Verwey won plenty of new fans for the sunlit, lo-fi sounds of his last album. It came after years of making music for, and playing records to, people who like to get down anywhere from rooftops to beaches and living rooms. The prolific producer has released on the likes of Houseworx and Enjoyment Division before now, and this new EP is another wonderfully dreamy and carefree outing.

'A Day In The Life of Pond Algae' unfolds over a lazy, dubby groove that is gently brought to life with bulbous synth loops and shakers, sunny chords and little smears of sound that pass like clouds. 'Guided Meditation For Dancefloor Nirvana' picks things up with dusty broken beats and instructional spoken words that encourage you to breathe over painterly synth strokes and effortlessly cool grooves. 'Vanilla Sky' lays you out flat on the lawn, the beach or the lounger and has you gazing up to an azure blue sky as gentle drums and synths wash over you like a cooling breeze. Lastly 'Crying Outside the Stadium' captures the magic of later afternoon on a summer day with more blurry pads and vocals and hints of cosmic melody that lead you towards nightfall with a loving hand.

This is another superbly soothing soundtrack for a calming day of outdoor dancing.

2025 Repress


Touched by the hand of Todd "Drumroll, please"New 12-Inch with original productions since" Ragysh, Bonysh and Snooze 4 Love

Pedro Goya returns for his second EP on Carpet & Snares with four cuts of electro-disco. ‘Bosac’ and ‘Dopalow’ make up the lean and mean A side, matching Chicago drums with italo arpeggiators and moody pads. Pedro turns up the funk on the B side with the French house swagger of ‘Paean’ before the bittersweet acid and deep bassline of the closing track, a memorial to his beloved dog ‘Nikita’.

Another timeless classic makes it on to the Dynamite cuts 45 series "I wouldn't Change a thing" made famouns by Coke Escovado as an up tempo rare groove dancer. Here is the Orignal cut by Mr hang on in there baby him self soul don Johnny bristol. Both tracks are so perfect for a 7" reissue. on the flip "Lusty Lady" Another mid-tempo soul gem, nice drum break intro and great groove.

STRANGER STILL was Julian Cator (guitar), Paul Cator (piano, organ, synthesizer), Tim Warnes (bass), Frank Warnes (vocals, drums) and Ian Johnson (vocals, drums) from King’s Lynn, Norfolk, UK. The two sets of Cator and Warnes siblings had been playing together in bands since 1974, with Ian joining in 1979, and with their musical style evolving from glam influenced rock to punk/new wave (punk came late to Norfolk) and finally post-punk, influenced by Ultravox!, Magazine, Joy Division, Bauhaus and Killing Joke. Their first gig together was in September 1979 with John Peel being in the audience. The Solitude/Survivor single was recorded in July 1981, released in November and sold well locally. John Peel played Solitude, between singles by Winston and Screen 3. When Julian left in autumn 1981 the others continued, later changing their name to Nothing Sacred. Ex-members have since played in a number of other bands, most notably Paul and Tim in Shine!, and Julian and Paul in Ivy.

Solitude opens in a perfect analogue way with a ‚primitive’ rhythm machine pattern and a dark synth sound fading in. We shall be glad for the band’s move towards electronics while knowing „given the negative reaction we got from some of the local bands when we got the synth a Moog Satellite“, quoting Julian. When the real drums, guitar, bass and vocals also come in, you’re in for one of the most perfect post-punk songs, yet playful but ultimately bleak. “And then I can feel nothing more. Alone again, with no sensation.“ Survivor is more uptempo and bass-driven, reminiscent of early Death In June (who came later though). Lyrics like “4 minute warning warning – the sound of today. Our new dream world – Enola Gay.“ set the mood there.

The band composed a dozen of songs, demos to get gigs, which were unfortunately never recorded properly in a studio. So these are demos or rehearsal tracks, never released to the public and presented here for the first time ever as an additional 15 tracks download-only (due to the poor sound quality). You’ll find fantastic tracks like Brave New Berlin or Cardiac Arrest, which is reminiscent of Death In June’s In The Nighttime, and then, there is a demo of Solitude too!

Here’s to a piece of post-punk history!

The duo Spill Gold blends drums, synths and vocals into a sonic journey that invites listeners to explore realms of energy exchange. Nina de Jong on drums and Rosa Ronsdorf on vocals and synths joined forces in a collaboration that transcends genres. The music of Spill Gold serves as a woven tapestry of (unheard) voices, inviting you to lean in. The result is a fusion of psychedelic echoes, danceable rhythms, and intricate percussive layers. Their newest album is a result of a need for hope that longs for an anti-anthropocentric and non-patriarchal world. The duo's compositions navigate through cyclical patterns, echoing snakes biting their own skin, volcano's starting to errupt, witches fingers that crumble towers and birds of steel and feather. They invite you into a world where the concept of 'the first' or 'the best' fades away and to join them on their musical journey with no clear beginning or end.

Joe Bataan's extensive discography was expanded in 2022 with the release of some old recordings from the King of Latin Soul that had never been previously published. After the success of his album "Riot!" (1968), Bataan had easy access to a studio whenever inspiration struck to record a new song sketch or even a complete track. Sometimes, he would finish the recording entirely and offer it in its final version to Fania for release. This usually worked, although on some occasions, the song was rejected. In the case of 'Drug Story,' the track was recorded without a clear final purpose, even though Bataan hoped it would become part of an album. When the Fania executives heard the result, they immediately rejected it, thinking it promoted drug use. The tapes were filed away and lost in oblivion until they ended up in a thrift store in New York. From there, they were rescued by a Latin music specialist and later sold, eventually making their way to the Vampisoul archives. The song was finally released in its entirety in 2022 on the LP "Drug Story" by Now Again. It features a long, slow vocal intro that evolves into a more uptempo track with two very distinct parts, to the point that it almost feels like two different songs. It transports us to the best moment of Joe Bataan's career, with all of his classic ingredients, delivering a track as good as his most famous songs. Bataan himself takes on the lead vocals and piano, Bobby Rodríguez handles the flute, sax, and bass, Pete 'Choki' Quintero plays the drums, and William Howes Jr. plays the electric guitar with wah-wah effects. Vampisoul strongly believes that the song deserved to be released as a single as well, and that its structure was perfect for each side to have a separate identity. So here it is, for the first time on a 45, 'Drug Story,', parts one & two, the long lost track by Joe Bataan. Pure Latin soul, recorded at the peak of the artist's career!

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

2025 Repress
L.F.T. returns to Mechatronica with his unique, signature blend of new wave and breakbeat influenced electro for the mind, body and floor. Boldly shaped by distorted drum machines, gut-wrenching grooves and haunting vocal chops, the KeyGenerator EP comes backed by an explosive IMOGEN remix and an occult collaboration with Cardinal & Nun. A spellbinding record on its own, and another crystal clear testament to L.F.T.s razor sharp sonic vision and ability to generate new styles from the past, present and future.

Spiritual Rhythms by Mix’Elle, the fourth release on Portuguese label angel, is particularly special for a couple of reasons: it’s the artist’s first record (a true triumph at that) plus she is a resident at the night series that originated the label itself. It’s truly an all-connected type of affair. This EP taps, in a personal and intentional way, into the very foundations of jungle and drum n bass, taking us on a soulful ride permeated by Mix’Elle’s influences while incorporating her artistic vision, one that was shaped through hours behind the decks in underground drum n bass parties for well over a decade.

The record opens with title track ‘Spiritual Rhythms’, a 174 bpm mantra-like roller clocking in at 6 minutes with the textured pads and the realness you could expect from a Rufige Kru classic. A fat sub underpins it, urgent spoken words remind us what we’re here for: ‘it comes from the drum. and the drum is something spiritual’ as congas play briskly into the groove.

Things slow down significantly for the second track, ‘Angel nights drop tha bass’ - a signature floaty pad and a drum break maintain a steady continuum. A hopeful chord progression is offset by the sharpness of the drums, the bass gluing it all together with the help of an archetypal stretched vocal. Everything is in its right place - a genre veteran is very clearly at work.

‘Touring’ features a mischievous low end, as if a jazzy double bass were played by a dub experimentalist. The funkiness is infectious, with off-tempo string stabs and a mutating filtered breakbeat that feels alive - a vocal pad chants throughout, adding a layer of wide-eyed enchantment.

Percussion never falls short in this record, and the closing track begins with nothing but a shaker, toms and congas - evolving to an elegant, dreamlike yet crisp piece, led by a prominent bassline, its washes and wobbles re-arranging our chakras. Spiritual Rhythms indeed.

angel is a label run out of Lisbon by Violet. A sister label to naive, angel tries to portray the party series of the same name - a bass-led, smoke-drenched celebration where the main room is dedicated to dnb and the second explores adjacent stylistic fringes like dubstep, trip hop, dub or jazz.

Drawn from years of early-hour sets and the quiet intimacy of the booth before the room fills, Gimme The Sun marks the debut EP of Al-Veez (real name Alvise Marino). A seasoned guitarist raised in Italy with musical roots in funk, boogie, and blues, Marino’s release is a sonic travelogue of his formative years as a selector in a city, NYC, that quietly became home. The prominent guitar captures both the ache of departure and the bright, restless hope of return.


With a wistful blend of beachy, meandering textures, lush synth layers, and a hypnotic pulse, the EP lands in time for another steamy summer in the city—sure to strike a chord with longtime NYC house heads, whether they be behind the booth or lost in the crowd. Arranged in close collaboration with TSoNYC label boss Danilo Braca (also on mixing and mastering duties), theshimmering title track reads like a Dear John letter to New York. Tender, honest, and full of gratitude, it’s the kind of farewell only a true love could inspire—one that dances forward even as it looks back.

As the record warms up, “F Train Boogie” evokes snapshots of bright midsummer mornings gazing out a scratch-blurred train car window at the glistening city, while the track that follows, “Sneaky”, sizzles with cosmic allure—an intoxicating blend of luminous synths, tightly interlaced rhythms, and a commanding kick drum that locks the listener into an entrancing groove from the very first bar. “Underwater”, the fourth and final track, shares some of the same allure and mystery, but features a playful optimism, encouraging the listener to lean into curiosity of what the next chapter, night, or DJ set will hold. 


Oliver Dollar presents Contemporary Part Three on Rekids The third instalment features collaborations with Ben Silver, Boogs, and Hazmat, and features Apropos and Boog Brown.

Berlin’s Oliver Dollar unveils part three of his ‘Contemporary’ series, releasing on Radio Slave’s Rekids 4th April 2025 and following up last year’s parts one and two, which featured the likes of Harvard Bass, Brillstein, ADMN, and Austin Ato, and won support from the likes of Nightmares On Wax, Anja Schneider, Laurent Garnier, Carista, Jennifer Cardini, Dam Swindle, and more.

Part three of Contemporary sees Oliver Dollar invite another cast of hotly tipped collaborators, kicking offthe EP with Melbourne DJ and producers Ben Silver and Boogs - both resident DJs at Revolver Upstairs - for ‘Cosmic Weapon’. Their track features lush, poignant chords underpinned by a rolling groove, with vocal samples warped, chopped, and sliced above for a mind-melting trip. Up next, ‘What Cha’ Gonna Do?’ sees Dollar team up with Apropos, whose inimitable voice previously featured on ‘Contemporary Part One’, and talented Detroit vocalist and Dilla’s Delights’ Boog Brown for a soulful duet. Last up is another Motor City link-up featuring Hazmat Live on production alongside Oliver Dollar for the infectious House energy of ‘Ought To Be Love’, joined by the earworm vocals of Members of the House front vocalist William Beaver, aka Billy Love, known for his work bringing Motown-style gospel vocals to Techno and House with notable Detroit artists like JeffMills, Theo Parrish, Moodymann, Kevin Saunderson, and many more.
drum work. Closing out the ‘I Feel’ EP, Tal Fussman works with fellow producer 8-AN to drop the dream-like strings of ‘Life Itself’, another deep track that is as club-ready as it is introspective.

With a steely sound matching fathoms-deep echo chambers with metallic textures and precision drums, Sciama arrives on Samurai Music to press into the inspiring hinterland between techno and drum & bass.

Sciama is the production alias for Michael Watters, a producer who since 2019 has carved out a formidable reputation across a stellar run of releases on ASC's Auxiliary label. While his music references UK bass, transcendental techno and industrial, the end result is a taut, focused journey through fractured, weighty rhythms and vast, ranging atmospherics tilted towards the darkness.
Between Veils is testament to Watters' refined production, steeped in intensely detailed and layered sound design in constant fluid motion, whether locked to the grid or shifting across the surface of the track like grayscale snow drifts. Noise becomes a subtle tool in his hands, capable of delicacy as much as abrasion, and discord evokes a haunting beauty if you listen past the clangorous overtones he elicits from his pads.

For all the writhing, artful sonics, there is still ample weight in the Sciama sound to hold court over a sound system. 'Figures In Mist' rests on a constant half time cycle underpinned by monolithic bass pulses and 'Ghost Trail' finds deadly energy in the faintest flicker of double-time hats above the slow march of a 4/4 kick clocking around 85BPM. Restraint is paramount, even in the fuller rhythm section that drives 'Anima Trace', creating tension through what isn't sequenced as much as what is. 'Veil Of Mirrors' has an especially punchy kick propelling the cavernous echos and ripples that shape out yet another vivid soundscape, but at all times Watters keeps a tight grip on his arrangement to keep the energy simmering just below boiling point.
Moving well beyond the boundaries of any specific genre, Between Veils winds upas a strong, independent statement on the meeting point between broad influences and clear intentions - a formidable addition to Samurai Music's explorations beyond drum & bass and Sciama's steadily evolving, singular style.

Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.

An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.

'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.

'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.

'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.

Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.

London-based producer, vocalist, and DJ System Olympia is set to unveil her latest project, M3 Opera,
a five-track EP that fuses her signature sensual synth soundscapes with a bold conceptual twist.

Dropping on April 25th 2025 via her own Okay Nature Records, the EP features a unique collaboration with five distinct female vocalists, each lending their voice to a standalone "act" in this sonic drama.

Inspired by the sleek power of the BMW M3 and the theatrical grandeur of opera, M3 Opera reimagines the EP format as a multi-act narrative.
Each song accelerates through a different emotional gear—romance, tension, liberation—while the lush pads, gritty drums, and dreamy melodies System Olympia is known for provide the horsepower. "This is about motion and drama," System Olympia explains. "The M3 is that late-night drive, the pulse of the road. The opera is the story unfolding with every voice, every act."

The EP showcases an all-female lineup of vocalists, each bringing their own flavour to the journey. From sultry confessions to soaring crescendos, the tracks weave together a tapestry of feminine energy that’s both intimate and expansive—think *Delta of Venus* meets horsepower under green neon lights.

Following the success of 2024’s *Sanctified* EP with Working Men’s Club and her acclaimed NTS Radio residency, M3 Opera solidifies System Olympia’s reputation as a visionary who blends retro-futuristic
sounds with raw emotion. The EP promises to be a ride worth taking, whether cruising the streets or losing yourself on the dance floor.

Italy’s Tuccillo is back on Kaoz Theory this July with his ‘First Summer’ EP, once again showcasing his widely lovely interpretation of stripped-down, groove-led house. Making his start in the 90’s and still as relevant as ever, Tuccillo, has become highly sought after both for his records and as a DJ, his name is synonymous with gritty, groovy and dance floor focused jams which have found a home on many reputed imprints such as Visionquest, 20/20 Vision, Free-range, his own House Of Tucci and of course Kerri Chandler’s Kaoz Theory where he returns here. Tuccillo also operates as one half of the Doublet duo alongside Holic Trax boss Tomoki Tamura amongst many other sonic side ventures. Opening is title-track ‘First Summer’, perfectly setting the tone with Tuccillo’s distinctive style which utilises, fluttering stab sequences, bouncy bass tones, choppy vocal cuts and a bulbous bass groove atop a raw, reduced rhythm. ‘One More’ follows next and leans heavily into dub house realms with gritty, echoing dub chords, ethereal pad textures and murky bass swells delicately ebbing and flowing around a saturated swinging drum groove. ‘People For The People’ follows next and lays down organic percussion with filtered funklicks, a snaking bass line and jazzy keys before ‘Gotta Be Free’ concludes the release, heading back to a more stripped-back aesthetic courtesy of twitchy acid-tinged bass hits, fluttering synth melodies, crisp drums and an amalgamation of processed vocal chants throughout.

Detroit’s DJ Slush presents his debut solo EP “Model Collapse” with five versatile tracks inspired by classic stripped down Midwest house & techno. The EP marks the launch of Polytechnic Recordings - a new sublabel of Mark Grusane’s Disctechno Music - run by Eric Schwab (DJ Slush) & Grusane. Following his productions on the Midwest Rhythms series, “Model Collapse” delivers more jacking drum machine programming, spacey & melodic synth lines, and a few psychedelic elements, with nods to the early years of deep house & proto-techno, packaged in a full color jacket sleeve.

2025 repress !

I walked away from the mirror.
It was morning, it was afternoon,
it was night.

Nothing changed,
it was locked in place.

I was born for this.
Shot like a flower in the dance.

***

Early support by: Blawan, Perc, Clouds, James Ruskin, Truss, Pfirter, Chris Liebing, Adam Beyer, Drumcell, He/aT, P.E.A.R.L., Slam, ROD, Lucy, AnD, Gary Beck, Paul Birken, Exium, Ansome, Sawf, Henning Baer, Dustin Zahn, Objekt, Adam X, Rebekah, Norman Nodge, Markus Suckut, Jonas Kopp, Marcel Dettmann, Takaaki Itoh,...

Obrador originated from Olympia the capital state of Washington. A multifaceted group that consisted of many members over the years. They were together from 1976-2006 and was led by band leader Michael Moore. The members were, Steven Bentley ~ Drums, Connie Bunyer ~ Clarinet, Guitar, Vocals, Paul Hjelm ~ Guitar, Bass, Trap Drums, Piano, Steven Luceno ~ Bass, Guitar, Michael Moore ~ Keyboards, Michael Olson ~ Percussion, James Pribbenow ~ Saxophone, Vincent Soluna ~ Sax, Vincent Soluna ~ Sax

They recorded 5 albums over the period of 30 years. One track of which “Willow” you will find tucked on the B side of this lovely new release. We wanted you Kats to have great value for money and pack the record with two stone wall Dingwall style killer recordings.

The A side “Blink Samba” was recorded at Russian Hill Studios San Francisco in July 1983, after the group made the long journey down from Olympia and back to record a whole Lp that has lay unissued since 2023 only getting a digital release. We stumbled across the tracks whilst doing some research and was blown away. A few chats with member Michael Olson and we knew these had to be on vinyl. They are pure fire jazz with a slightly latin Esq vibe. We can almost see the sweat dripping from the Jazz dancers as they cascade to the rhythm of the percussion “Blink Samba”

Flip it over whilst the floor is still rocking to the track “Willow” Unlike “Blink Samba’s opening percussion this one kicks in straight away with a rasping baseline. You hold on to the bars like you been strapped into to a rollercoaster and get ready for the ride.

Parallelle & Nicolas Masseyeff return to Crosstown Rebels with dynamic new EP, ‘Shake It Out’. The trio deliver their third collaborative release on the label on 18th July 2025, backed by a standout remix from Airrica.

Following their acclaimed collaborations ‘Renegade’ in 2023 and ‘Surrender’ in 2024, Parallelle and Nicolas Masseyeff return to Damian Lazarus’ Crosstown Rebels with a third instalment of their evolving partnership on the imprint. Titled ‘Shake It Out’, the release arrives in the heart of summer and showcases two original productions from the Dutch-French trio, alongside a vibrant remix from US rising star Airrica.

Dutch brothers Parallelle and French mainstay Masseyeff share a deep-rooted musical connection, honed across years of collaboration and a shared love for expressive, forward-thinking electronic music. With past releases on labels such as DGTL, Systematic, Rose Avenue, and Masseyeff ’s own Diversions Music, the trio have built a sound that’s rich in detail and driven by emotion, combining analog warmth, live instrumentation, and club-ready energy in equal measure.

A fusion of sharp production and live sensibility, ‘Shake It Out’ leads with layered drums, psychedelic stabs and a commanding vocal that urges listeners into motion. On the B-side, ‘Everything’ delivers a more stripped-back and introspective mood, with hazy textures and wonky sonics for the late hours. Joining the package is Airrica, making her return to Crosstown following 2024’s ‘Hi Speed Lover’. Her rework of ‘Shake It Out’ adds a new dimension to the original, dialling up the energy with crisp percussion, pulsing acid-dipped low-ends, and warped vocal treatments that inject a driving twist into the hypnotic groove.

naemi follows last year’s excellent Erika de Casier-starring »Dust Devil« with a genius new album of ultra-catchy, perfectly executed shoegaze diamonds, powered by Ulla on drums and additional vox, flutes and extra vocals by Baptist Goth, and fuzz guitar by Kouhei.

»Breathless Shorn« is the Berlin-based Kansas-born producer's most compelling move thus far, featuring 11 perfectly fuzzed songs that almost completely shake off any electronic remnants in favour of a light-touched act of MBV worship. naemi has long nurtured an obsession with vintage dreampop and shoegaze, but until now they mostly blurred those influences with dubby ambience and delicate, heart-slicing production. On »Breathless Shorn« they completely re-draw their outlines, bristling with a much looser energy in a mode that feels like a big step up - more impactful, full of easy swagger and a bona fide emotional resonance.

Distorted, tremolo-bent guitars, boxy drums, electric bass and delirious multi-tracked vocals are the backbone here, mostly sounding like they could have been lifted off Kevin Shields' »Ecstasy and Wine« sessions. naemi's attention to detail is remarkable; no longer leaning on electronic masking or the influence of '90s British slacker rawk or twee pop, instead deploying the genuine article, with ambient music left as just a faint note wafting in the background.

Teasing dread atmospheres and zooming in on microscopic details that bring every beat in every bar to life, Seb Uncles returns to Samurai Music with another deep dive into his exquisitely crafted, cinematic progression of the drum & bass tradition.

Even a cursory glance at the Eusebeia back catalogue tells you Uncles is an artist committed to the storytelling promise of breakbeat culture. His work has been heavily tipped towards albums since he first broke through around 2015, and across more than 10 long-players he's cultivated a strong line in moody, evocative jungle and drum & bass more concerned with world-building and subtle detail rather than aggression and intensity.

Following up on his 2023 LP for Samurai, X, on Undertones Uncles applies his signature meditative tones to a broad expanse. There's a consistent sound palette that leans on the warm snarl of monosynth low end and aqueous pads, delicately edited breaks and crisply sculpted synth percussion, but Uncles moves with dexterity around different tempos and structures within this considered sound world. The overarching notion is one of things lurking beneath the surface - a comfortably open theme to be approached and understood from any number of angles. It certainly chimes with the upfront detail and brooding tension that gives the Eusebeia sound such depth.

There are moments of direct drum pressure, such as fierce opener 'Undertones' with its diced-up breaks and icy chords, the boisterous jungle dread of 'Uncover' and chasmic roller 'Root Out', but on the likes of 'Beneath The Surface' and 'Out In The Open' it's the mellow elements that take precedence over the deft drum science. The motion is persistent and nuanced, but it's achieved without deferring to default dancefloor tropes.

'Emergence' marks a pointed shift towards a delicate strain of techno that maintains the album's sound at a mid-paced pulse, focusing on synth shapes and textures to achieve propulsion with only the lightest of drum parts. Alongside the energetic intrigue of Uncles' sonic choices, the melodic make-up of the track is a compelling showcase for his emotionally ambiguous approach, both rousing and chilling in the same curious chord shapes.

From the half-time prowl of 'Lifting The Veil' to the creeping textures and haunted phrasing of 'Brought To Light', Undertones is another stunning exercise in widescreen jungle. It flows naturally from the rich body of work Uncles has cultivated over the past 10 years while carving out its own unique pocket - a reminder if you needed one of the profound sound bedded into the Eusebeia project.

Informed by all the sub strains of UK Bass music and the Hardcore Continuum, Analias’s hazy sound straddles both poles between melancholy and euphoria, with an underlying greying hue in the center where all the disparate colors of the underground meld into one. Preferring to let the music speak on his behalf, (You will not find him on social media) Analias’s already substantial discography is an accomplished body of work that deserves all of the attention and praise soon to come his way. LGHPS is incredibly happy to help amplify this phenomenal artist to the world.

Drenched in mournful atmosphere and longing tones, all four cuts hold an emotive, introspective motif with subtle drum work that holds back the bubbling aggression of the punching 808 B lines brooding underneath. “Falling Falling Falling” loops sensual yet familiar vocal chops into a hypnotizing hook while the drums and bass step with enough weight and grit to make this the perfect set opener. “Cardio” up’s the tension to the boiling point with undulating strings churning the waters before unleashing a monster B line tidal wave. The sun ray’s break through the clouds on “Pass Me By” as the pummeling bass is tempered by lively Rhodes keys. The mood ascends further on the playful stomp of “Again n Again” using morphing 303 melodies and upbeat handclaps with Mood II Swing club sensibilities.

I think "Divide & Conquer" is so far the only tune on Future Retro London that I've signed after hearing it on social media. Friske posted a clip on his Instagram profile of a tune he was working on at the time and I instantly messaged him asking about the tune and what the plans were for it. He was making it with his own label, Requisite Music, in mind but thankfully was willing to let me have it for my label when it was done. The tune blew my mind when I first heard it, and I knew that it was something that I needed to release. I've been a big fan of Friske's music for years so it's great to finally have him on the label, alongside a remix done by Gremlinz & Rumbleton.

Around the same time as that, IJO messaged me on SoundCloud with a bunch of unsigned material, after I'd earlier expressed interest in having his music on the label. Of the tracks he sent me, two called "Glitter" & "Mark 11" caught my interest but out of curiosity, I asked him if he could combine the drums from "Glitter" with the melodies & sounds from "Mark 11" which he did and it sounded fantastic. I wanted to get someone to remix the tune and when I asked IJO's opinion on who he wants to remix it, he suggested Artificial Red, who I already had music coming on the label from, so it made sense to ask him, he was up for it and he's done a cracking version of "Mark 11".

Big thanks to Friske & IJO for their original tunes, to Gremlinz, Rumbleton & Artificial Red for their work on their remixes and to social media for actually being something useful!

Marco Faraone is the latest artist on DCLTD imprint with his ‘Open Your Eyes’ four tracker. 'Open Your Eyes': the title track combines roiling fast techno beats, with pizzicato 'plucked string' insistent, subtly dominating monotone strand throughout, all peppered with a deep male vocal command - 'concentrate', until the big breakdown's drop is heralded by female voice 'open your eyes' and a fast ride to the satisfying end. Uncompromising and invasive in the best way. 'Enigma': the techno beats ride alongside a resonant synth melody with an 80s vibe, hypnotic and upbeat, counterpointed by a touch of melancholy in the intruding high synth notes in the breakdown. A deep, danceable techno track with emotion baked in.

'Convert The Energy': Fast and dark, with a whomping beat, metallic percussion, and a repeating monotone phrase stealthily gripping the hearer, while urgent, deep male layered vocal riff - 'convert' - becomes a layered, processed vocal delivery of 'machine designed to convert energy', emphasis suitably on the last word. 'Haze': a stotting fast drum beat and hissy hi-hats underlie a repeating melodic synth phrase with a noughties trance feel, crescendoing into a plangent, almost-piano sound, punctuated by single notes like trumpet calls, clattery or jangling intrusions, mysterious and intriguing.

Cosmological returns with the second chapter, 4 tracks for the dancefloor different from each other, with raw drums and acid electro synths that lup and evolve into exuberant but at the same time mysterious melodies, with kicks and bass lines that go from progressive techno to house with a side dish of sharp vocals.

The fourth release on ALT, the sub label of Cartulis Music, sees the return of AV1, the freshly formed French duo composed of Chris Carrier and Le Loup. Following the success of Waves + Plants Pt. 1 (ALT004.1), the pair now delivers the highly anticipated second chapter, pushing the boundaries of their sonic exploration

AV1 is the result of a deep-rooted connection between two of the most respected names in the Parisian underground scene. Chris Carrier, a prolific producer and DJ since the late ‘90s, has carved out a legacy with his unmistakable approach to house and techno. Le Loup, equally revered for his refined touch and forward-thinking productions, brings his own signature style to the table. Together, they craft an electrifying synergy built on a shared love for acid, deep grooves, and classicist house/techno foundations.

Waves + Plants Pt. 2 (ALT004.2) expands on the energy of the first release, offering a fivetrack journey through a diverse soundscape. Blurring the lines between trance, techno, breaks, and experimental sounds, the EP showcases AV1’s ability to merge different sonic textures into a cohesive, cutting-edge release. From hypnotic acid sequences to raw drum programming and ethereal atmospheres, each track presents a unique side of their creative vision.

This latest installment solidifies AV1’s place as a standout project in contemporary electronic music and reaffirms ALT’s commitment to releasing forward-thinking, genre-defying sounds.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Breakbeat Paradise Recordings is proud to introduce Miles Kings & The Foolish Knights with the super positive anthem "A Good Day" with a top class remix from our very own Jayl Funk.

Toxic Funk Vol. 19 is all about the uplifting vibes of this original track perfectly written and played with groovy drums, lovely piano line, backing vocals that brings goosebumps and the powerful voice of Miles King.

On the flip side Jayl Funk picks up the tempo and bring the Good Day to the dancefloor with his straight up funky beats and grooves.

Breakbeat Paradise Recordings – consistent and always reliable to delivering you the funkiest beat and breaks out there. Look out for more coming soon…

A new album, a new era for Adam Beyer and his music. The revered Swedish producer, DJ, and label head of Drumcode and Truesoul has consistently pushed the boundaries of techno in his own 30+ years of releases, while his imprints have launched many new artists and boosted the clout of major stars.

‘Explorer Vol. 1’ see's Adam Beyer showcasing his inspiration from his whole past creative journey whilst continuing to explore different sounds and new genres. It reflects permutations of Adam’s headspace and who he is, celebrating his personal interests and influences including in sci-fi, both musically and visually. A new age for Adam Beyer, after a prolific slew of superb EPs, singles and collabs which have spanned 20 years since his last LP.

Italian artist Raffaele Attanasio kicks off the New Year for Mutual Rytm with his superb 'South Signatures' EP, channelling multiple techno styles into one potent package.

Landing as Raffaele Attanasio's second outing on SHDW's Mutual Rytm label, following his incredible debut 'Quasar' and recent appearance on the third instalment of the label's Federation Of Rytm compilation, the EP is a showcase of an exciting artist with a new school take on techno while bringing real respect for the roots of his sound. He has played live on stage with the legendary Jeff Mills, and is involved in several other musical projects in different genres but reserves his finest techno for his own name.

'Madrigal' opens the EP, with Attanasio crafting an apocalyptic anthem composed of one sound, the Nord Wave 2 synthesizer and a pumping groove. It is pure dance floor heat with unrelenting drums that lock in the crowd. The brilliant 'Heat' then brings tribalism, with a powerful rolling groove peppered with chord stabs that bring it to life. 'Aogiri Tree' features rousing drums that emerge from the undergrowth and accompany the macabre lead synth. Its mischievous notes hint at hidden danger and keep you on your toes.

Keeping the energy high, 'Stratford Fog' delivers a battle between drums and the constantly pulsing bass. Edgy chord stabs and raw percussion make for a breathtaking groove that never lets up and keeps you utterly engaged. The title track is a laser-focused production that harks back to the golden age of Neapolitan techno with a perfectly designed groove, before digital bonus 'Eleven' brings hints of stylish Detroit techno with its lush chords and arpeggiated saw bassline, creating a continuous flow right to the last beat.

Berlin techno talent Regent returns to Mutual Rytm with second 12" release, 'Delta Hyve' - a five-track package lined with peak-time heat.

Regent is an ever-growing voice in the global techno conversation. His tracks have found their way into high-profile sets worldwide and are renowned for their impressive blend of the past and the present. Versatile but always designed for maximum impact, delivering an impressively crafted sound made for powerful systems, this new outing offers a wealth of different moods and grooves for various parts of the night. Returning to SHDW's Mutual Rytm imprint following 2023's successful 'Coral Knife' EP, he unveils a fresh selection of cuts that emphasise his emergence with 'Delta Hyve'.

The title cut 'Delta Hyve' opens up with devastating low ends and busy synths that scurry about the mix to bring dynamism to the rooted drums, while 'Ophaal' delivers thumping kicks and coarse, textured hits scrape and scratch, while supersized hi-hats bring the intensity to all new levels. 'Hygea Core' brings the pressure with hunched-over drum patterns and a sense of urgency in the bass, while creepy pads create an unsettling atmosphere. 'New Narrative' powers on like a train with high-speed rhythms and metallic percussive surfaces, all sweeping you off your feet, before 'Ree 54' switches things up with bright synth flashes and more extraverted grooves that hark back to the machine soul of early Detroit techno.

The first digital bonus, 'Presence', is intense and tinged with the grit of a warehouse and menacing vocals, while 'Rheplica' delivers unrelenting loopy drum funk with shattered glass melodies to close the show.

Gary Beck returns to Mutual Rytm as he unveils a selection of impactful cuts across his debut 12'' on the label, 'Upside Criminal'.

Bek Audio boss and Glasgow techno mainstay Gary Beck has long been a key figure in the scene with a unique sound that has shaped a vast discography. One of the genre's best, with appearances across iconic institutions and collaborations with legendary talents, he is a definitive talent. Returning to SHDW's Mutual Rytm imprint, his new EP lands following his recent appearance on the label's 'Federation Of Rytm III' VA, with the tracks on the package proving as go-to favourites for the label boss over recent months.

''Mutual Rytm has been nothing short of inspirational to me over the last years. I've been playing almost
everything from the label, as the tracks really suited what I was selecting in my DJ sets. The high-quality output really got my juices going to create something for the label, and I was delighted when Marco liked what I sent. This EP signals exactly where I am musically. I'm an absolute sucker for tracks with relentless groovy energy and little breaks, so it felt like a perfect fit. Tracks from the EP have been an absolute joy to play in my sets recently,
and I'm so excited to deliver this EP on my current favourite label, Mutual Rytm.'' - Gary Beck.

The powerful 'Upside Criminal' kicks off with hammering drums and pounding hits that create an inescapable wall of sound that will dominate dance floors of any size. There is more loopy energy to 'Sambana' with its ever more jagged synth stabs and fizzing drum textures while 'Pepper Track' is a futuristic techno workout with rattling snares and mutant synth details peeling off the straight-up groove. 'Rejected' is built around trapped vocal fragments that swirl about the mix to a disorientating effect as the high-speed drums and sheet metal synths race onwards, 'while
Ghost' closes out with a subtle sense of uplifting celebration from the synths that rise up through rusty, rickety techno grooves. Digital Bonus 'Variation 6.1' offers another searing and funky techno stomp, once again providing an extra gem for digital purchasers.

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Lars Bartkuhn returns to Rush Hour with “See The Light”, as deep and complex as we have come to expect but as always his ever-present hunt for new inspiration and unique approaches is clearly evident across all 3 mixes of this beautifully deep yet pulsating track!

Originally written as a final foray into house music for the legendary Needs co-founder, this production aimed to “push boundaries within the world of electronic dance music, integrate fresh new elements, bring new compositional perspectives to the listener and to create overall rewarding experiences.”

It’s a deeply personal track, best summarised by the incredible piano solo in the Full Experience Mix. In Lars’ own words, “I am ten million light years away from being a good pianist, but for some reason I NEED to play those kind of things…even if they are raw, primitive and incomplete and lack parameters like elegance, fluidity and wisdom - I need to express myself in that very moment in this exact way.” It’s these unrestrained moments of brilliance that create rich palettes of sound with deep textures, organic rhythms and joyful melodies that keep your ear constantly engaged.

The Full Experience Mix is a near-13 minute trip through lush vocals, complex percussion, deep chords and raw piano solos that guides the listener through the changing motions of “See The Light”. Backed by two dub mixes, Inner Experience hones in on the keys and synths - truly elevating those striking notes. Opening with atmospheric percussion, the Dub Reprise settles into a chugging rhythm that brings the drums to the forefront.

“When a musician/composer really goes ‘all in’ there is almost nothing impossible. If you really pour out your heart and give all the sweat and tears you have you create a kind of zone where everything fits together in mysterious ways.” - Lars Bartkuhn

Lars Huismann drops fourth essential release on Mutual Rytm with 'Catharsis', following his successful 'Sounds From The Past' trilogy.

German producer Lars Huismann has a percussive and groove-driven take on techno that often comes with scintillating melodies and separates him from others amongst the genre. His releases have come on labels such as Dolly and Soma; however, he has also quickly become an essential member of the Mutual Rytm family, having contributed to the label's 'Federation Of Rytm III' VA as well as serving up a trio of forward-thinking EPs in the form of his 'Sounds From The Past' trilogy. Delivering yet more stellar material on SHDW's thriving imprint, his latest EP delivers the newest evolution in his sound while maintaining his signature sonic essence.

The hunched techno funk of 'Divergence' kicks off with plenty of plenty up energy and tight, bouncy synth vamps, while 'Portal' goes deep into a futuristic landscape with static-laced synths and oversized hi-hat ringlets that ramp up the pressure. The mighty 'Neural' is brilliantly functional and linear techno with a playful synth that rides up and down the mix as the sleek and slamming drums race onwards. 'Riot' brings some extra raved-up madness with serrated synths and raw percussive energy, and 'Technician' then slips into a deeper, more paired back sound with liquid synth lashing about the mix as dubby undercurrents power along the punchy rhythms and freaky vocals bring the menace. Digital bonus cuts 'Incognito', a fizzing, busy, textured techno workout, and the machine soul of 'Submerged' close out this high-grade EP in style.

Exos returns to Mutual Rytm for second standout EP, 'Icebreaker'.

A renowned global talent, Iceland's Exos was last on Mutual Rytm earlier this year with his successful 'Infrared' EP in April. The debut release on the label's new 10" vinyl X-Series, the EP picked up a wealth of high-profile plays while delivering an absorbing journey through techno soundscapes. The release was followed up by his 'Evil Nation' LP, exploring a harder, more intense approach to techno on his own Planet X imprint, ext to tunes on the likes of Figure and X/OZ. However, he returns with more skilfully crafted ammunition across five stand-out productions and two digital bonus gems on SHDW's burgeoning imprint for a second outing packed with his trademark sound spanning mystic yet driving and impactful spheres.

The package opens up with 'Voices Of Volcano', a powerful track with a monstrous low end and quickened drum kicks that compel you to march in time as the twisted synths peel away up top. 'Enter The Danger' has a steamy feel, as if racing through a humid jungle with the sounds of bird calls and haunting voices next to the loopy percussion and driving rhythms.

The brilliant 'Icebreaker' keeps up the intensity with more precision drumming working dancers into a meditative state while the cosmic synths grow up out of the groove to become bright and unsettling. 'Mocoa Beats' is another warm techno cut that fizzes with synth energy and unfolds like an ancient ritual, while 'Chicat' brings some sensuality to the party with whispered, intimate vocals over more macho and unrelenting drums. Bonus tracks 'Codebreaker' and 'Spliffmatch' round out this high-grade EP of timeless techno in style, offering a unique closing treat for digital purchasers.

SHDW's Mutual Rytm imprint is back with its third release of 2024, marking a full label debut from Sonic Propaganda with their 'Native' EP.

Sonic Propaganda comes from the collaborative minds of Earwax and Rosati, a pair who favour dark and intense techno sounds and take inspiration from Jeff Mills and Robert Hood. In the studio, they blend analog and digital technologies into smoky warehouse atmospheres and immersive journeys that connect with listeners on an emotive level, and this full EP lands following their contribution to the third instalment of the Mutual Rytm's Federation Of Rytm compilation series in February.

The powerful 'Native' opens up at high speed with tightly coiled drum loops that never let up. Sleek metal percussive sounds peel off the grooves and lock listeners into a perfect state of hypnosis. 'Soul Pressure' is just as absorbing, with a tense bassline keeping you on edge as the train-like drums march under incendiary hi-hat ringlets. There is plenty of perfect machine funk to 'Terminal', which has more rusty synth textures and chopped-up vocal fragments humanising the turbulent grooves. 'Basic Path' brings an extra skip to the kicks as they enter, scuffed up and flowing just above the groove, while vocal pulses and twitchy synth modulations bring the detail. 'Body Empire' closes the vinyl package with a deeper vibe and pensive synths that add warmth and soul to the brilliantly mechanical grooves, while digital bonus 'Acid Riot' closes with squelching acid lines amongst a swell of analog crunch and laser-sharp percussion.

Steve Redhead returns to Mutual Rytm with second searing EP, 'Cosmic Alchemy'.

Belgium pioneer Steve Redhead is the founder of Reda Recordings and has spent his life immersed in techno. His potent take on the genre has appeared on labels like MB Elektronics, Zync, and Primate and has helped define the sound of the underground within his home country over the last 25 years. Returning to SHDW's Mutual Rytm imprint following his well-received 'Eastbook Isle' EP last year, he's back to impress again as he uncovers six new productions with his latest EP, 'Cosmic Alchemy'.

He shows his class from the off here with opener 'Sincfala', bringing the heat with banging drums and rusty percussive loops. Yelping vocals add raved-up intensity, while 'Rapidshare' is energetic and loopy with funky drum patterns and loose-limbed percussive madness. The fantastic 'Ad Valvas' is another straight-up linear banger with tightly woven drums, percussion and lithe synth lines that take you to the heart of the dance floor and 'Nusakan' is a muscular wall of drums and toms with urgent synth stabs powering it forwards with great intensity. 'Asmodeus'
brings a more zoned-out feel with soulful pads and subtle vocals layered over the elastic drums and bass, before digital bonus 'Voice Incident' delivers another perfectly textural techno workout with melancholic motifs and surging synths that bring warm rushes of emotion to the grooves.

With its title a quotation of Jesus from the gospel of Matthew, this is quite possibly the most well-known album with "Satan" in the title, all due respect to the Louvin Brothers.

Recorded on the stairway of Jack White's home in the Indian Village neighborhood of Detroit, this album features marimba, tympani, mandolin and bells, as well as the usual guitar and drums and piano. Described by someone as an "oddball masterpiece," it was not commercially released on vinyl until ten years after its initial release.

Born and raised in Sicily but now based in Berlin, SLV is known for his innovative approach to techno and its various shades. He has released on revered labels like Soma and received support from key industry players who respect his ability to blend old-school vibes with modern production techniques. Away from the club, he also produces music for film soundtracks, adding a sense of cinematic edge to his techno cuts and is a master of both analog and digital technologies - a true audio engineer who crafts unique, compelling sounds. Having previously featured on the labels Federation of Rytm III compilation, he returns to SHDWs Mutual Rytm imprint with his Night Echoes EP to open up October.

Graustufen opens with punch drum programming and scintillating percussion that dances atop the groove as booming bass brings serious weight down low. The superb Grand Cayman is another potent techno weapon, this time with icy synth atmospheres and eerie moods pervading the tightly programmed drums and bass to deliver an unstoppable force. Voids brings urgent funk with its hunched-over, closely stacked kicks and suspensory pads, which never let up and keep you locked in the moment, while Elastik Pho echoes a classic Detroit sound with its soul-drenched beats and serene, uplifting, beautiful hi-tek style. Last but not least, That Night shows SLVs extraordinary range as it brings some soulful vocal loops and optimistic chords over thunderous drums, which are sure to power dance floors through to euphoria. The EP includes two digital bonus cuts: Basic Uno, which is a raw, percussive and heads-down banger, and Persistence Of Memory, which is stripped-back, glitchy and dubby techno for strobe-lit warehouses.

A1 - Tried So Hard
Intensely atmospheric from the outset, Tried So Hard sees ASC explore a more minimal approach to breakbeats with sparse drums and kicks tentatively held at arm's length by imposing hi hats. Dripping with depth and a dense layer of synthwork enveloping the landscape, this unique track develops continually with a suite of interlocking effects while the vocal yearns "I've tried so hard" - both haunting and thought provoking.

A2 - Parallel Seas
Cheery synths and lively bongos introduce us to Parallel Seas, which quickly becomes a glorious, powerful amen workout providing that perfect blend of atmospheric bliss alongside crunchy, analogue amens programmed with ASC's exquisite attention to detail - crashing triumphantly to an upbeat rhythm, littered with rousing vocal hits, elegant synthwork and nods to yesteryear galore.

AA1 - Alacrity
An energetic, surging breakbeat powers Alacrity as ASC utilises breaks reminiscent of classic driving atmospheric tracks of the past from scene legends including Intense and Artemis. Uniquely constructed with a pulsating, fluid energy, the break pattern utilises relentless kicks, cymbals and a wonderful long snare primed to move the dancefloor as synths wash and a lush vocal whooshes along in ecstasy.

AA2 - Glimmer Of Hope
Jumping straight in with a DJ-friendly beat intro, ASC selects a crisp, definitive selection of old school cuts for Glimmer of Hope, chopped and served with a barrage of sci-fi effects, micro melodies, a bellowing, rumbling bassline and a serene intensity driven by dreamy pads resulting in a perfect patchwork of elements, offering endless layers of detail for your ears to pick through with each listen.

Words by Chris Hayes (Spatial / Red Mist)

The italian disco-funk band "Le Dune" come back with a new version of the single "Sugar", released last summer, and remixed by Fimiani, FrescoEdits, Sparkling Attitude, Costariva. "Le Dune" is a project led by Francesco Fisotti featuring the singer Done and various musicians from Apulia

Blue Vinyl

Seba smashes his way into 2022 with the much anticipated release of his third studio album, "Ingaro".

Prepare yourself for ten brand new tracks of Seba. Secret Operations presents the first LP in almost ten years, from a producer who believes albums are not to be taken lightly.

"Ingaro" takes it's name from the small island outside of Stockholm, which Seba has called home for the last 20 years and is also where he spent his formative years.

The new LP takes the listener on a soaring journey through the entire Seba sound. Whether it's the dark and insistent forces of "Horse Power", which grow and fold in on themselves throughout the track, or the blooming euphoric roller "Public Beauty". A fresh collection of tracks which contain the unmistakeable Seba DNA, which has helped cement the name Seba firmly into the world of drum and bass.

Any album is not complete without some guests joining along the way and Seba has also enlisted some helpers on the journey and the LP includes collaborations with Collette Warren, Björn Berglund, Samuel Lancine and Blackeye.

For many, Seba is a name they are very familiar with. From his early releases on Good Looking right through to the present day Seba has made a name for himself for his exciting and varied production.

His music draws influence from far and wide across the musical spectrum and his work alongside the legendary Paradox and vocalist Robert Manos have gone down in Drum and Bass history.

Not just famed for his work in the studio, Seba's sets have gained a reputation for their energy and emotion. One of the scene's unique veterans. Seba's work is inspiring producers and fans more than ever. An album which sets the bar high for 2022!

Cinthie makes a welcome return to her own 803 Crystal Grooves imprint this June for its sixth release, the project comprises four original"s showcasing Cinthie"s many different sonic styles and influences.
The past decade has seen Berlin"s Cinthie moving from strength to strength, racking up milestone achievements like her DJ Kicks mix compilation and a steady stream of critically acclaimed material via the likes of Aus, Heist, Shall Not Fade and of course her own 803 Crystal Grooves label where she returns here with some fresh machine jams.
"Grooves" kicks off the package, a dynamic dance floor cut fuelled by processed vocals uttering the track title, murky bass stabs, heavily swung drums and gritty saturated stabs all dynamically evolving and unfolding throughout. "Boxer" follows next and showcases Cinthie"s love for dub-tinged sounds, laying down spiralling dub echoes, a snaking bass groove and hypnotic chord sequences atop a robust, swinging rhythm section.
"Hands Up" then kicks off the B-Side, shifting gears to a classic House aesthetic with dreamy keys, bright stab sequences, glistening synth textures and smooth strings, intertwined with soulful vocals and classic 909 workout. "She Wants It" then concludes the EP on a more cinematic tip with sweeping lead synths, fluttering arpeggios, elongated bass drones and vocal lines running with raw, crunchy drums.

Straight from Copenhagen, Danish DJ/producer B From E delivers an EP that sits halfway between Trance and House. With deep melodies and infectious rhythms, Blue Lava opens a portal to a new world — both icy and fiery. Split into two parts, the A-side burns with energy, while the B-side shines with luminous melodies.

With its powerful vocals and a melody that brings a breath of fresh air, the opening track of the EP We Are Gods truly lives up to its name. Representative of the EP, it beautifully embodies the deep and captivating melodies of Blue Lava.
Ocean Drive offers a subtle blend of softness and groove. Like a dream, light percussions gently land on a track filled with ethereal melodies.

Hypnotic, the arpeggio of Arp Dream never leaves the track and opens the B-side of the vinyl. The drums evoke the energy of an erupting volcano where the melody of the track would represent the blue lava flowing poetically.

With Blue Lava, B From E closes his EP on a nostalgic note. Blue Lava recalls an early morning sunrise, in the atmosphere of a night you never want to end.

Classic samples on 45. The Whatnauts, Help Is on the Way. Released as a single in 1981, this hard to find 45 is a certified Funk Disco Boogie classic! An infectious bass line over a head nodding drum groove, this is one for the steppers. Instantly recognisable as the sample source for Del La Soul’s “Ring Ring Ring (Ha Ha Hey)” Hip Hop classic, you might also recognise it for lending a riff or two for Fat Larry’s Band, “Act Like you Know”.

Isaac Hayes. Ike’s Mood. Released as the lead Single from the 1970 album “…To Be Continued” this Soul Jazz classic unwittingly became a huge source of inspiration for the sampling generation. Sampled almost 200 times, the brass section, drums and an unforgettable piano hook have been used to form the basis for classic releases by Biz Markie, Mary J. Blige, Nas and Massive Attack to name only a few.

This Spring, the Psionic imprint returns with its seventh chapter, welcoming rising Uruguayan talent Juanma Alegre to the fold. Across four forward-thinking, rave-infused cuts, Alegre blurs the boundaries between mysticism and pure dancefloor drive.

The journey opens with “Capsule of Time”, a deep, pulsating opener awash in acid-laced atmospheres and hypnotic grooves. Next up, “Selvinter” delivers a seismic mix of rolling drums, liquid acid lines, and dreamy pads—built for moments of late-night transcendence.

Flipping to the B-side, “Intrus” locks into intricate percussion and mind-warping textures, maintaining pressure without letting up. Finally, “Going Inside” closes the record with breakbeat pulses and off-kilter rhythms, channeling raw emotion straight to the heart of the peak-time floor.
Juanma Alegre opens the portal—step through if you dare.

Now under number 26 we are proud to present Niki IL B the prolific producer from Italy who does not need an introduction due to his legendary work output over the years. Labyrinth of Echoes is an extended play that has landed on the town of Sakskøbing, it tells a story of the feelings deeply rooted in each of us and allows us to intensely feel the synth pads and the drum work created around it. Niki has definitely brought his A game for this one as every single work is unique and manages to capture the essence of his artistic soul that we are witnessing on this 12”. From Pestorama to Street of Rapa this disc is oozing with talent that the artist has demonstrated us flawlessly.

Electrodynamique is back with five tracks that fuse past and future into a single, electric pulse. Born in his early years and rediscovered with care, these songs are raw, vivid time machines — bursting with wonder, heart, and unrelenting rhythm.
Rooted in the sounds of early 2000s electro, synth-pop, and breakbeats, this release is a sonic flood of glistening synths, aching melodies, and driving drums. Each track carries its own weight — a story, a feeling, a frame of life caught in sound.

Disco Segreta is incredibly excited to introduce you a truly astonishing disco treasure from the vaults of Mario Baldoni aka Miro (Pat & Pats, Phil Sun, Govindo).

Originally recorded in June 1979 and previously unreleased, “Lucky Guy” was a demo track recorded by Miro in two versions (italian and english) with the creme de la creme of the session musicians of the era: Derek Wilson (drums), Ken Stage (guitar), Mike Logan (keyboards), plus the heavenly backing vocals of Nora Orlandi e i 4+4, to be considered for a release which was then mysteriously cancelled.

“Lucky Guy” is a display of the incredibly overlooked talent of Miro and a perfect time capsule of the 1979 “rosko” sound, when disco was mutating to incorporate rock elements, in the same vein of coeval productions such as Mauro Malavasi’s “Revanche” or Daniele Besquet’s Giants “Backdoor Man” projects.

The first-ever release of “Lucky Guy” will feature the English and Italian original demo versions plus a contemporary remix of “Lucky Guy” by italian mastermind Marcello Giordani (Italo Deviance, Circle Point Circle / Marvin & Guy, Maurizio & Dandolo, Marcelo).

Continuing its authenticly deep italian disco archaeology work, Disco Segreta offers you the incredible opportunity to own an authentic piece of the true Italian disco sound, exactly 45 years after its original recording! Don’t miss this thermonuclear dancefloor bomb!

Red Vinyl. Jim Jarmusch's crypto-vampire love story film, "Only Lovers Left Alive" won the 2013 Cannes award for best soundtrack. The soundtrack, predominantly by Jozef Van Wissem and SQU"RL, also features Zola Jesus, Yasmin Hamdan and Madeline Follin (of Cults). "Only Lovers Left Alive" which is set against the romantic desolation of Detroit and Tangier, features an underground musician (Adam, played by Tom Hiddleston), who is deeply depressed by the direction of human activities. He reunites with his resilient and enigmatic lover (Eve, played by Tilda Swinton). Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister (Ava, performed by Mia Wasikowska). Can these wise but fragile outsiders continue to survive as the modern world collapses around them?The physical formats of the soundtrack have been out of print for years and the vinyl will cost you a pretty penny on Discogs. Sacred Bones is thrilled to bring this incredible soundtrack back in print on several variants including clear and red splatter vinyl.SQU"RL are: Carter Logan, Jim Jarmusch, and Shane Stoneback. An enthusiastically marginal rock band from New York City who like big drums & broken guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores. Jozef Van Wissem is a Dutch minimalist composer and lute player based in Brooklyn.

Known for her delicate, subtly psychedelic approach to production - all subtlety is thrown out of the window on the opener, “Parents and God”. We are immediately confronted with a slamming Chicago house style beat in style of Mr Fingers at his most utilitarian. It slams, jerking in and out of tempo like Ron Hardy in beast mode.

Out of nowhere a soulful church organ arrives - at first for a brief respite - but then for an extended solo, which gives way to an 80s electro style breakdown before reverting back to form. It shouldn’t work, but somehow it does - to a dizzying extent - and heirin lies Mayurashka’s magic: a blatant disregard for norms and a deft touch that makes the unorthodox so compelling.

“Notango" takes another big left turn - sitting somewhere between tribal seance and rain dance, it’s mostly organic drums and otherworldly sound effects that combine to drag us deeper into the wormhole before “ Vat Murmur” takes us back into the light with its uptempo disco energy and giving way to heavy chugging bass. This one is equally for fans of idjut boys and Larry Levan.

The EP rounds off with the title track “ LSI dreaming” - to try and describe it is almost impossible, but let’s say it starts of with a mid 2000s Perlon-era tech house energy before things quickly escalate beyond all recognition and then just hover with lysergic intensity. If I ever closed panorama bar, this is the track I’d end with.

With releases on Underground Status London, BaDumTish, Fresh Milk and Statewide Swing, among others, S.R. has been helping to define the US-based UK Garage scene over the last few years. S.R. Volume 3 marks the 5th anniversary of this white-label series and his first 4-track 12" release. Conceived in the early months of 2025, S.R. Volume 3 draws inspiration equally from UK Garage and techy Drum and Bass to create a dancefloor-focused record that firmly captures 21st century tension.

Acid Delirio – the new EP by Lorenzo Morresi feat. Saturnino. Inspired by the 1968 cult film Acid Delirio dei Sensi, this 4-track journey blends percussive bass, analog synths, and organic grooves—crafted from Milan studio jams into forward-thinking dance music.

Lorenzo crosses several genres here, including disco, Moroccan dance, and Italo house, delivering a bold, borderless sound. The title track is a club-ready trip featuring Maria Chiara Argirò, with two versions (electronic vs. live drums). Also included: Night of Dreams + a fire remix by Gerd Janson, and the cinematic closer Idea Meccanicistica. Worldly, jazzy, psychedelic—it’s Italian electronic music at its most daring.

"Quit to Play Chess" is the final studio album of Cola Boyy, who tragically passed away in March 2024 after winning the hearts of neo-disco and funk enthusiasts, from Los Angeles to Paris, from Coachella to London.


After a critically acclaimed EP (Black Boogie Neon, 2018), a debut album (Prosthetic Boombox, 2021), and collaborations with the likes of MGMT, Benny Sings and The Avalanches, the self-proclaimed Disabled Disco Innovator was able to finish his new album, groovier than ever.


Without boundaries of styles, tinted with hiphop, R'n'B and drum & bass, and faithful to his very unique flow, Cola Boyy offers one last record in his image: 12 generous, inventive, psychedelic and passionate tracks. An album painting a nuanced yet lyrical portrait of its era, drawing on the diversity of the contemporary world to offer anthems for those who are in lack of them.


The album is a work of goldsmith on the production side, with music craftsmen like Andrew VanWyngarden (MGMT), Jared Solomon (producer of SZA, Lola Young, Remi Wolf, Fousheé...), Nate Fox (Chance The Rapper, Lil Wayne) and Lewis OfMan, who build "Quit to Play Chess" as the most current and genuine project of its author...

Italian DJ Plant Texture drops ambitious techno odyssey 'Mondo Nuovo' on Mutual
Rytm sub-label, X.

Bari-based underground mainstay Dona Basile, aka DJ Plant Texture, has been crafting forward-thinking techno for a decade, releasing on leading labels from Ilian Tape to Tresor Berlin. Adding to his rich catalogue, his label debut on SHDW's Mutual Rytm sub-label X is a homage to the spirit of space travel. With the label boss already a long-time fan and having dropped tracks from this EP in his sets for a while, the partnership creates an ideal match for an artist and label looking to push the boundaries of the genre. With Basile's distinctive style perfectly fitting with the label's vision, each of the productions provides a tribute to space exploration - fusing analogue hardware and deep rhythmic invention while channelling everything from early sci-fi cinema to the 80s ambient soundtracks. "Space exploration is the ultimate metaphor for creative freedom. This album is my way of sonically mapping the cosmos, not through melody but through mood, modulation and motion", notes Basile.

Opener 'Wormhole' is a raw, driving sound with synth pulses and jacked-up drums for peak time chaos, while 'Echoes' evokes ramps it up further with panel-beating percussive loops, earth-shattering bass and twisted stabs. The title track pairs more physical and booming drums with introspective synth craft that encourages deep thought. 'Flex The Beat' is the first of two digital only cuts and offers a chaotic collision of overdrive percussion, manic vocal loops and reversed stabs for utter dance floor carnage, before 'Let It Go' (Jungle Mix) provides a dark exploration of
frenzied jungle breakbeats with drilling bass to close the offering.

North View Records is an emerging Bristol-based label that values the music’s atmosphere and integrity equal to it’s technical production, aiming to resonate with listeners through immersive electronic soundscapes. For their debut release, label founder oliver presents ‘Quiet Thud’, an album inspired by expansive and untamed coastline. The 11 tracks take a hallucinatory trip through techno, downtempo, ambient and guitar-led music, drawing on diverse influences whilst remaining distinctive and ethereal.

North View Records is an emerging Bristol-based label that values the music’s atmosphere and integrity equal to it’s technical production, aiming to resonate with listeners through immersive electronic soundscapes. For their debut release, label founder oliver presents ‘Quiet Thud’, an album inspired by expansive and untamed coastline. The 11 tracks take a hallucinatory trip through techno, downtempo, ambient and guitar-led music, drawing on diverse influences whilst remaining distinctive and ethereal.

‘Closer Thud Mix’ and ‘New Light’ introduce panoramic soundscapes to club focused tracks, with warped electronics and swelling wide-angle pads giving contrast to the fine-grain textures and driving percussive elements. Tracks such as ‘Plaza’, ‘Ribbon’ and ‘Joyride’ lend a nostalgic character to the album, presenting wistful and distant melodies that interplay with the off-hand live instrumentation, building a gentle and nuanced sonic palette.

‘Ruin’ balances delicate arpeggios with pulsing distortion and drum programming, evoking a brooding scene fitting of its title. Album closer ‘DRM Reprise’ also explores darker themes, led by a piercing vocal emulation that warps and evolves amongst sparse percussion. In contrast, ‘Still Life’, ‘Everything’, ‘Coastal’ and ‘Overground’ bring warmth and balance to the overall experience, offering moments of lightness and reflection as the clouds break, sunlight spilling across the open landscape.



b A2. Closer Thud Mix

REPRESS!

Celebrating the 25th anniversary of the 1997 trance / breaks classic ‘Everytime’ with a reissue including the massive Nalin & Kane / Red Jerry mixes alongside a newly commissioned D&B mix from Electron C.

Dialling it back to ’97, Lustral - a project from UK based duo Ricky Simmonds and Steve Jones, who also were responsible for other acts such as The Space Brothers, Chakra, Essence, Force Majeure, Ascension and many others, unleashed a future anthem ‘Everytime’. An ethereal breaks/house gem, the original version has euphoria written all over it, not least for those beautiful vocals from singer / songwriter Tracy Lee Ackerman. During the years the track got remixed a number of times, by people such as Nalin & Kane, Way Out West, Timo Maas, Red Jerry, Mike Koglin amongst others.

On this reissue you’re served the classic, unforgettable remixes from Nalin & Kane and Red Jerry alongside an incredible new drum and bass rework from Electron C.

Stephen Disario returns to his imprint Conundrum Records with his first release of the year, the Tawa EP. A fixture of the Los Angeles scene, Disario delivers three dark, percussive techno cuts that lean into tribal rhythms and hypnotic energy. Each track is a testament to his razor-sharp drum programming, immersive sound design, and cerebral atmospheres-hallmarks of his evolving sonic identity.

The EP also features a standout remix from rising Brazilian talent Marcal. His Hightimes rework blends dense, chugging grooves with eerie chimes and trance-like, spacey textures, offering a fresh, mind-bending take on the original.

A nocturnal ride through the magnetic waves of an imaginary club that never sleeps, where groove becomes ritual and the dancefloor an extension of the body. Francisco & Cosmo Dance – aka Francesco De Bellis and Cosimo Mandorino – orchestrate a mechanical and naif dance between man and machine, where synths chase each other and drum machines dictate tight, unrelenting beats. “Go Go Dance” is a concentrated dose of analog groove, electronic funk, no-wave pulses, and retro-futurism.

The Extended Mix transcends radio boundaries, diving into a hypnotic, fluid, body-driven dimension: a sonic tide echoing cosmic italo, primitive house, and off-kilter disco, shaping a soundscape for dancefloors from another dimension.

The House Mix, finely edited by Whodamanny, is a manifesto for the floor: pure rhythmic dynamite, made to ignite bodies and let them vibrate freely. A shared and refined vision of house music, where instinct and style fuse into a single voice.

“Go Go Dance” doesn’t aim studio perfection; it craves sensory truth – the kind born of urgency, space, and the pleasure of repetition. An anthem to the most authentic and lived-in club culture, where music becomes sweat, fantasy, and freedom once again.

Jeff Parker’s 2016 album The New Breed was a turning point for both Parker and for International Anthem, changing the trajectory of his solo career as well as drawing an abundance of attention to our fresh imprint despite our then very limited catalog. Most importantly though, the album is the first to give voice to Parker’s wholly unique take on sample-based beat construction augmented by a crack squad of improv-savvy LA breezers—the high-level crew of Paul Bryan (bass), Josh Johnson (alto sax), and Jamire Williams (drums), augmented by Jay Bellerose (drums) and Ruby Parker (vocals).
What began as Jeff’s interest in understanding his own idea of hip-hop processes (and how they related to his work in jazz) expanded into a blueprint for much of his work since then. (see also: The New Breed’s rock-solid followup Suite For Max Brown, the gentle deconstructionist solo guitar of Forfolks, and the long-form slow bloom dub improvisation of The Way Out of Easy—all released via International Anthem)
The IA11 Edition LP features our IARC 2025 obi strip, plus a new 16-page 11x11" insert booklet with unpublished session photos, new liner notes by New Breed bassist / co-producer Paul Bryan, and an in-depth conversation between JP and IARC co-founder Scott McNiece.
“...equally rooted in jazz and funk, and built upon beat-making experiments…”
- Jason P Woodbury, Aquarium Drunkard

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”

Beeyou Records presents its latest imprint from rising UK talent Wodda. For Wodda, this release spans several years of work, representing the evolution of his sound as he heads into 2025.

The Welcome to the Future EP explores previously uncharted territory, while still touching on the 2000s house and speed garage influences, we’ve come to expect from his productions.

The A-side kicks off with 'Bang to the Beat of This' , diving into darker territory, with moody chords, hypnotic vocals, and sirens — a whompy, peak-time speed garage cut, with serious attitude.. 'I’ll Be Careful' brings the energy, with a swingy party starter that everyone needs in their bag. Golden-era 2000s chords, a rolling bassline, and positive groove.

Flipping to the B-side, the title of the EP 'Welcome to the Future' — welcomes a playful, peak-time groove, with a stabby garage bassline. To close things out, 'Santa Cruz' follows with a 90s-inspired melody, paired with swingy drum rolls and a commanding bassline — a fitting finale to Wodda’s highest-quality release to date.

This album is probably one of the most outstanding jazz discoveries of this year and highlights the significance of earlyJjazz-Rock recordings from East Germany in the late 60s to the early 1970s.
The highly talented organist Ulrich Gumpert, along with top musicians like drummer Günter "Baby" Sommer, bassist Gert Lübke, and guitarist Günter Dobrowolsky, formed a powerful independent quartet as well the rhythm section within the Klaus Lenz Orchestra and later of the group SOK. Their modern, soulful, and funky Jazz-Rock compositions gained popularity and were even promoted by the
East Berlin youth radio. Guest artists like the famous Günther Fischer contributed to their first recordings. This retrospective LP celebrates a groundbreaking yet underappreciated era in East German Jazz and Rock history.

Reality Shock & Solo Banton are back once again, with a soundsystem anthem entitled Sound Teachings

Produced by Kris Kemist for Reality Shock Records, with support from CultureMix Arts’ Reggae Collective, Sound Teachings is a celebration of global soundsystem culture; a call to honour the past whilst embracing the future.

Solo Banton's lyrical flow is as commanding as ever, his wordplay paying tribute to the soundsystem pioneers who laid the foundation and the sounds of today who continue to fly the flag for the culture. Kris Kemist’s heavyweight production, featuring Wailers drummer Carl Benjamin, gives this record a fresh yet nostalgic sound, complete with obligatory dub mix on the B side.

Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.

JR Disc has already become a firm part of the Detroit new school with his two previous outings on this label. Once again here he shows off his raw but emotionally poignant style and knack for a catchy groove. 'Bust' has rusty hi-hat sounds and deep, cavernous bass with rough edge drums a la Omar S. 'Wonder Traxx 1' then picks up the pace with heavy but inviting kicks that are again all frayed and dusty while some jazzy melodies bring a cheeky and playful twist. Pure Motor City gold if you ask us.