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Initially released in 2006, ‘Revep’ is the third collaboration album between Alva Noto and Ryuichi Sakamoto and the third installment of V.I.R.U.S.’s five albums series.
Remastered in 2021 in collaboration with Calyx Studio, the album’s recordings are accompanied by three new compositions titled ‘City Radieuse’, ‘Veru 1’, and ‘Veru 2’.
‘City Radieuse’ was composed for the 2012 short cinematic essay titled ‘Cité Radieuse’ and part of Carsten Nicolai’s ‘future past perfect’ series.
The video shot at le Corbusier’s Unité D’Habitation in Nantes (called ‘cité radieuse’) takes the viewer through the modular system and design applied to the residential buildings. The film’s narrative unfolds
through a sequence of images tracking the apartments’ indoor space and details, and points to the different benchmarks of standardized production as they correlate to their environment and its inhabitants.

The album’s original recordings resulted from musical exchanges that began with ‘Vrioon’ and revolved around a collaborative arrangement of Sakamoto’s classic ‘Merry Christmas Mr. Lawrence,’ the theme music
to the 1983 movie starring David Bowie, Takeshi Kitano, and Ryuichi Sakamoto himself.
In ‘Revep,’ the piano takes the lead while the padded bass and pitched electronic frequencies mark sudden change. Deeply evocative and effortlessly colliding worlds of analog beauty and digital mastery,
this album is considered another indispensable record from the duo’s ongoing collaboration.

First time available on vinyl!
A pair of Watergate favourites add their touch to JOPLYN standout label debut from last year, as 'Fact & Fiction' and 'Can't Get Enough' get impressive remixes from Adana Twins and JAMIIE.
A prodigiously talented producer, DJ and live act on the rise, JOPLYN’s Watergate Records debut last December was an exhilarating eleventh hour highlight of 2022.
Championed by Pete Tong on BBC Radio 1, the release now gets a second life in time for summer. Adana Twins re-fashion 'Can't Get Enough' into a beast of a tune that cleverly retains the emotion of the original, while propelling it into peak-time festival territory, with a blissful build up and a bass-face inducing bottom end. A straight up fire tune.
‘Fact & Fiction’ get JAMIIE’s vibe-heavy touch, taking the dreamy tones of the original and re-working them into an impact-heavy end-of-night opus.

Repress!

incl Adam Beyer & Layton Giordani Remix

Sam Paganini’s ‘Rave’ was a huge record for Drumcode. It was a defining moment for the label as well as being a pivotal release in the club techno movement of the last decade. When originally released in 2014 it became an instant anthem for techno fans and DJ’s alike but it also forged a path into the mainstream with mass support coming from all sides of the electronic spectrum. Since that 2014 release ‘Rave’ has generated more than 100 million streams; a testament to its global popularity and appeal.

Here we see Adam Beyer and Layton Giordani unite to remix this illustrious title - bringing a fresh and dynamic 2022 perspective to it.

‘Rave' remixed by Adam Beyer and Layton Giodani, respectfully nurtures the iconic essence of the original mix, including the signature riff, but it does so while also dramatically increasing the heart rate with more drive, energy, power and punch.

The original breakdown and famous ‘tricked you!’ drop has now evolved into a more marked double break with the second one now including a haunting war cry before that instantly recognisable burst of staccato melody pulls you back into trademark Beyer / Giordani pounding beats.

A crowd driving highlight from all of Adam and Layton’s recent headline shows - this remix is beyond peak time music. Add to that the extensive list of early headliner support and we have what is clearly set to be a year defining track of the incoming Summer.

AOP007 sees the return of Ukraine’s Artist Vladimir Gnatenko. On two of the tracks he collaborates with his friend Kai Noob , leaning on the more experimental side of things. The other two tracks, which are Vladimir’s solo work, are for the floor. Also returning to AOP is Warpque delivering another stunning cover for us.

The Havoc guys have been on an enforced hibernation through the winter due to a lurgy that had been affecting the planet. They have remained in the cave throughout this time huddling up to keep warm and exploring what had become their home away from home for months on end. One night, whilst lighting a fire, trying to find motivation for the next release (basket weaving had lost its appeal) they spotted a glint across the way – On further inspection, it was a small bottle and had a label of sorts – It looked to be medicine or smelling salts – Liquid Gold. Curious creatures they are they all took a long good sniff of this elixir. And just like that, they rummaged around the records stacked in the corner put some more coal in the old computer and began their work.

Soon the A-Side of the new EP was born. Most certainly a step up in the BPM from the previous A-Side off EP1. A1 kicks off with a Germanic Proto Throb Job, that's sure to cause errr...Havoc on the dance floor. Whilst A2 is a Bassline Driven, Reconstructed Austrian Euro Pop Monster. One for late-night Discos.

After a while they had stopped sweating, hearts had stopped beating quite so quick. Whilst the creative juices were flowing a few more records were dug out and a log put on the fire and a cup of fungus juice imbibed. B2 came rattling out the speakers in no time at all in all its chugging glory, the vocals take in a nod to god after the devil has done his dirty work.

At this point, the sun was starting to peek through the mouth of the cave and a new day was upon them. One last record had been found, earlier, that was decided would work at this time, actually after consideration, any damn time... B2 Is like a familiar Balearic Back rub with pop-infused French vocals and beats for days...So now EP2 is complete. Back out into the world our intrepid or is it tepid threesome went... Let's only hope their wives haven't left them after all this time locked away.


DJ Support:

Jim (HMD)
Bill Brewster
Kelvin Andrews
Eric Duncan
Al Mackenzie
James Holroyd (Begin)
Pete Herbert
Phil Mison
Nick The Record
Justin Robertson
Coyote
Mind Fair
Steve KIW
Craig Christian
Dr Rob
Dave Jarvis
Max Essa
Andy Simms (Soft Rocks)
Howler
Jaye Ward
Nancy Noise
Andy Taylor (WATS)
Graeme Fisher
Severino (HMD)

The gift that keeps on giving, Purple Disco Machines’ ‘Exotica (Deluxe Album)’ is being treated to some epic remixes of your favourite songs now available on vinyl.

This vinyl includes a remix of ‘Hands to the Sky’ by Floorplan Justified and a remix from Italy’s own The Cube Guys of ‘Money Money’.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, Nottingham and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your
wants list for years. Dig in....

Back in 1997, UK house legend Charles Webster, this time under his DJ Profile alias, unleashed these killer tracks. Originally released on the sorely missed London nightclub The End's label, this fine 12" set a benchmark for what would become a very exciting time for the UK's underground scene, both tracks are widely considered to be up there with Charles' most sought after work.

A-side 'Prove It' kicks off with swinging drums that deliver the funk, percussive elements rattle & shake and the low slung bass line keeps the track firmly on the dancefloor. The soothing chords, acid overtones and the evocative vocal hook are mesmerising and soulful.
Over on the flip, 'Realization' is a bumping analogue monster. The kicks are solid, the snares swing and an infectious rolling bass line carries the track throughout. Darker acidic touches sit alongside delicate synth riffs and emotive chords that lift, drift and lose you in a world of wonderfully woozy deep house sonics.

Never has the late night dance floor sounded so good, and this slab of wax is a must have that typifies a halcyon period in underground house history. The tracks themselves have remained exciting and relevant, achieving cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Charles Webster, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

One Tribe label-owner AMÉMÉ makes his debut production appearance on Crosstown Rebels next month with the three-track Drum Beat. The EP includes a remix by longstanding US house veteran Joeski, marking a major career achievement for the Benin-born talent.

The Latin influence is experienced right from the word go on Loca, as Saharan-esque elements build alongside resonant hats and playful, Spanish-like vocals. Tribal percussion drifts in and out alongside, whilst whirring key solos feature subtly throughout. Drum Beat comes next, manifesting as a welcome slice of contemporary Afro-house that’s packed full of raw instrumentals and authentic lyrical samples, before Joeski’s remix brings things to an up-tempo, club-ready close.

Specialising in Afro-leaning electronic music, AMÉMÉ has marked himself as one of the continent’s breakthrough talents in recent years. Head of One Tribe, his productions have been supported by the pioneering figure of Black Coffee since 2019, whilst his appearances on Watergate Records, Blond:Ish’s Abracadabra imprint and the mighty MoBlack Records have been equally well-received, firmly establishing his presence as one of modern dance music’s rising stars.

Joeski’s trajectory can be traced back to 1991, when he burst onto the NYC house scene as a founding member of The Chocolate Factory DJ collective. Since then, the US veteran has garnered a worldwide following thanks to his Maya label, which was first incepted in 2001, as well his keen ear for production that has seen him release on Crosstown Rebels, Relief and a myriad of other heavyweight imprints in recent years.

Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. Recorded in New York, and originally released in 1976, 'Juice' presents Ryo at the height of his powers.

Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.

'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.

The summer season is here and to celebrate this we present this year's brand new PIV Records Summer Sampler. 8 exclusive tracks perfectly crafted in the studio for all those special moments of sunshine with you and your friends.

Straight off the bat, it's the label's executive producer M-High - Void that kicks off some delightful pads and keys-oriented melodies, followed by German sound provider Djoko with another club anthem Fun With House. British producer Demarzo takes it on a smooth ride this time with Make it, while Litmus - Ribbon Bass takes it up a groovy notch from down under.

Next up is Kellie Allen - Like The Sun and it shows her elegant summer night vibes all around. The Ruze boys deliver us a cocktail of rhythm with their rendition of The Concorde Club, followed by the addictive Keep The Groove by Louden. Rounding up is the raw talent of Moglis making this groovy sampler the one to have by your side this summer.

Roughly two years after their triumphant return to our label, our close friends, the mighty Extrawelt are back with the corresponding remixes to their seminal „Jetzt Neu: Alles Wie Früher“ EP with quite the lineup of remixing artists! First up we have KMYLE, wo graced our label with an outstanding EP recently and worked his magic on this remix for Extrawelt, an act he´s been admiring for a long time! Next up, we have our good old friend Lars Sandberg aka Funk D´Void. Lars and Gregor have been friends for a long time, so it´s long overdue to have him finally deliver one of his trademark productions! Next up, we have quite a surprising collaboration, as Gregor teamed up with an absolute legend in the world of electronic Music: DJ Hell! Expect the unexpected! To round off the Vinyl, we have a remix by Artrik, hailing from Vienna and spicing things up for the bigger floors! So, dear friends - enjoy the remixes of one of our biggest releases recently!

London-based Bread And Butter Recordings is back to serving the goods, this time with a tasty number by the always-in-shape Silat Beksi. The entitled "Special Edition" EP is the first-ever solo EP on the label, and follows four successful VA compilations that have hosted Sublee,DoubtingThomas,Costin Rp, Herck, Miroloja, Macarie, and Direkt to name a few.

Opening the games, "Just Play It!" hits hard and clean with its crispy percussions, gnarly sounds, and hefty short pads that really give a floating touch. As soon as the track goes, some bongos and extra hi-hats appear, all together into a delightful ever-evolving groove.

A2 "Hero Suit" features fluffy chords that get reverberated throughout the track, flying over a sexy and engaging bassline and tight drum patterns. Fairytale synths and overprocessed vocals join the symphony, making this one a lovely dancefloor roller.

Closing the BR005, "Jungle Meditation" sticks to its name, with the Ukrainian artist relying on his signature groovy signature sound, which this time focuses on more hypnotic moods that interlock sharply in an unpredictable or volatile manner. Proper B-side, late-night affairs.

The next two courses - BR006 & BR007 - are on the way and they will not stop surprising you. A unique and delicious sound for refined palates.

Today we have a piece from Kharkiv. Yes, THAT Kharkiv, the hometown of the Ukrainian dynamic duo of Komponente and Kurilo with their Trance Pandemic label, also the city on the frontier of the Russian/Ukrainian war. Living in a much calmer city in Ukraine, it’s really hard for me to imagine making any production plans there, in this case, it means nothing but honor and respect for the guys. Red and black colouring was changed to yellow and blue (the colors of the year), the music is still great.

Up The Stuss goes down under as Sydney's Litmus steps for the label's tenth release. A bubbling member of Australia’s house and minimal scene, his productions via No Art, Piv And Dailycid have seen the exciting Aussie emerge onto the global landscape and make some noise.

Continuing in slick fashion, his 'Plus One' EP showcases a wealth of vibrant solo flavours while partnering up with Berlin's Black Loops for a crisp collaborative sprinkling of house delight - all backed by French live act and man of the moment Leo Pol as he delivers a heady, piano-driven remix of the title cut.

The gift that keeps on giving, Purple Disco Machines' 'Exotica (Deluxe Album)' is being treated to some epic remixes of your favourite songs now available on vinyl.

Highlighted here, a remix of 'Dopamine' by current heavy hitter John Summit and a Club Dub mix of 'I Remember'.

A selector, producer and label head at the top of his game, Enzo Siragusa continues to prove exactly why he’s held in such high regard as a staple of the underground music scene. While developments have seen the FUSE boss adjust his approach, recent months have combined a wealth of studio time with the unveiling of new projects – most recently announcing the launch of his new genre-bending all-night-long event series, E:Dimension. Yet, there’s something about a release from Siragusa on home turf that stands out amongst the pack, with productions like ‘Sagamore’, ‘Desire’, ‘Flexin’ and the ‘Kilimanjaro’ cuts instantly recognisable after just a few seconds, and the same looks set to happen as he makes his highly-anticipated return with his first solo material on the label for over two years. Unveiling one of his most heavily requested tracks to date alongside further peak-time business on the flip, April finally welcomes the arrival of the two-track ‘Nothing Matters’.

A track that’s been making waves for months, ‘ICV (Double Flake Mix)’ brings the sub-shaking, cavernous reese bassline now captured by many across the globe as Siragusa launches into his signature blend of heads-down, hands-up sonics, while the vinyl-only dub delves into afterparty territories to offer up an exclusive version for wax owners. On the flip, title cut ‘Nothing Matters’ graces the B-Side and keeps things moving as meandering melodies ride rumbling low-ends, swinging drums and chunky grooves to shape up proceedings in emphatic fashion. It’s safe to say Siragusa’s back, and he’s back like he never left.1

Repress!

In February 2020, Belgian label "KNTXT" will release a new EP by Berlin resident MONOLOC - 'Left The Planet' marks his first release on the label, that previously released label honcho Charlotte de Witte’s Chris Liebing collaboration and her “Pressure” and “Selected” EP's.

“With KNTXT, we aim to be a boutique label that values purity and strength” de Witte says. “Both characteristics that perfectly describe and define Monoloc’s music.”

Aside from being the main output for Charlotte de Witte’s creative endeavors, KNTXT has always aimed to be a breeding ground and safe haven for the unique talent’s that it love and respects. After debuting at a KNTXT event in Fuse back in 2015, Sascha Borchardt a.k.a. Monoloc has been a recurring invitee at the label’s raves.

“For KNTXT this is another amazing step in our label story. Feels great to be releasing new music of this dear friend of the family, after spending some great nights together.” Charlotte concludes. “This upcoming release is very personal to me.”

Monoloc says “After joining Charlotte de Witte on her events and most recently the sold out KNTXT tour, I can say we’re friends. I’m happy to be part of this next step of the label and am very excited and proud of what we’ve created.”

When it comes to releasing groove-driven productions suited for the warm-up all the way through to the afters, there aren’t too many better than Michael James. A studio natural with innate talent earning him a reputation as a must-visit producer, the Manchester native’s growing discography has already welcomed stand-out material via Burnski’s Constant Sound and Constant Black alongside the likes of S.A.S.H., e1ven and INFUSE. Returning to FUSE for the first time since his huge collaborative ‘Weird Things’ EP in 2020 alongside imprint boss Enzo Siragusa, early May welcomes a big solo debut on the label as he drops his dynamic four-track EP, ‘Another Dimension’.

Lead cut ‘Nobody Does’ sees James skilfully fuse funk-fuelled bass licks with sharp drums and wonky synths, while title track ‘Another Dimension’ offers up weighty low-ends beneath skippy percussion and sweeping melodies for a powerful peak time anthem. ‘Downstream’ arrives full of swing as delicate pads float amongst the mix, before closing with the driving sonics and spacey electronics of digital exclusive ‘Underwater’.

One year after its original release, the Placid Angles album Touch The Earth is being remixed by an impressive array of artists from the extended Figure family. With John Beltran being a distinct voice within the electronic music scene for over thirty years now, Figure is thrilled to reveal a whole LP’s worth of reinterpretations, including two works by the original artist himself.

Opening up is Marcel Dettmann, who seamlessly has integrated the lush soundscapes of the original album into a beat-driven but equally serene journey. Picking up on the LP’s underlying dark garage tropes, Planet Mu headmaster M-ziq infuses his rework with even more rolling drums and ethereal vocal chops. The also inherent IDM roots of Touch The Earth have been kept close by Warp-veterans Plaid who deliver a shuffling flurry full of horns, synths and syncopated rhythms. More straightforward interpretations include Dauwd’s dazzling piece of feathery, fast, atmospheric techno; a gorgeous melodic house remix by Baltra and Cassy who turns in a rigid UK stomper.

Amidst all the reworks, John Beltran himself makes two appearances across the record. As Placid Angles he adds another heads-down percussive/ambient swirl, which represents exactly what the producer has been hailed for since more than three decades now. His own remix finishes the record on an epic note, with an organic drum track that celebrates life and the necessity for communal gathering in order to dance.
Beltran’s own additions to this LP are like the essential glue that makes it all bind together, forging the old and the new into something equally exciting as already intimately familar.

Four years in the making, Duct Tape Project is the new brainchild of Tripmastaz in the realms of Trip-Hop and Downtempo. And it's a project that makes perfect sense to anyone familiar with Andrei's background (making Hip-Hop beats since his teenage years), musical capabilities and decades-long experience. Duct Tape Project joins Andrei with a troupe of stellar musicians not only from many different corners of the world but also from acutely distinct genres - Guti, Argenis Brito, Mad Dim, Denis Kaznacheev, Krussia, Damien Vandesande of DOP, Sarkis Ricci, Andrey Orenstein, and vocals by Inga.

Featuring all sorts of live instruments, drum machines, synthesizers and modular systems, Duct Tape Project brings forward a complex work brimming with musicality. Using Hip-Hop, not only its rhythmic structures but also its sampling techniques, as a foundation, Tripmastaz created a vibrant and fascinating ecosystem with enough sonic texture to leave one captivated, enraptured and lost at the edge of words. There are 13 musical compositions in total that explore all things Hip-Hop, Downtempo, Trip-Hop, Chill Pop and Lounge, forming a cohesive and deeply soulful album.

Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.

First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?

For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!

On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.

Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.

The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix.

Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present.

Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.


DJ Feedback:

Foul Play
Moving Shadow
"All the remixes totally land, great package, respectfully done. gonna hear a lot of these over the summer I think."

Jerome Hill
Super Rhythm Trax, Don't, Kool FM
"Was a little sceptical seeing these were remixes as its such an iconic track - BUT fair play ! Borai and Ed Solo & Blades both knocked it out of the park and i'll be playing both these, plus replacing my personal (slightly. crusty) vinyl rip of the original ! Bigups !!"

Om Unit
"Untouchable until now tbh"

jd Twitch
optimo
"even though I have probably heard it ten thousand times you can't beat the original. remixes are cool though."

Louise Chen
"this hits so hard it's tough choosing a fave mix!"

Emerald
BBC 1xtra/ Rinse FM
"Yeeeeeh found the dubstep remix vinyl of this in barcelona recently"

Werdna (Circular Jaw)
"Classic, lovely to see Hooj bringing in the big guns for the remixes. These are going off!"

Cortese
"Sick breaks on this one"

Truss/ MPIA3/ Overmono
"wicked"

Oli Warwick
Crack/ RA/ International Orange/ JunoJuno Plus
"Absolutely seminal bomb drop here, and the remixes are no joke either!"

Chris Farrell
"Always good to see this come round again, original and borai mix for me"

Smolny
"CLASICK !"

Doc Martin
Sublevel USA/Fabric UK.
"Complete Rave Warehouse Flashbacks!!!!"

Lil Mofo
The Trilogy Tapes / Tokyo
"wow!"

Moody Boyz
all over the worldstudio rockers records
"classic tune feeling the Filter Dread Remix"

Ciel
Rinse FM / Refuge Worldwide
"really nice collection of tunes!"

dop
"love the original"

It started with a night out at New York’s Sound Factory - and turned into an obsession, Inner City main man Kevin “Reese” Saunderson and his then manager, Neil Rushton, were at the NY uber house club when The Pressure by The Sounds Of Blackness got its’ debut World play, with the ecstatic response from the crowd meaning it was spun three times in a row.

Nobody was more knocked out than Kevin who vowed there and then to come up with a Detroit answer, much to the delight of Soul mad Rushton, co-owner of the Network label.

The idea of The Reese Project was quickly turned into House Heaven reality as Kevin recruited Detroit vocalist diva Rachel Kapp to record the anthemic Direct Me & The Colour Of Love as the first two singles.

Network made the group a main priority, coming with a whole slew of remixes to complement the original USA mixes on the subsequent album. Three of the most loved Network remixes are on this wonderful timeless 12.

The Dave Lee Joey Negro mix from 1991 is rated by many as one of Network’s finest moments, and maybe Lee’s finest ever “remixed with extra production” epics.
Rushton remembers meeting Lee to collect the remix, and instantly phoning Saunderson proclaiming “you won’t believe this”.

Underground Resistance’s Mike Banks added his magic to the 1991 original mixes of “The Colour Of Love” and the results were so overwhelming great that the idea of subsequent remixes was daunting.but the classic 1994 Network remix by The Playboys flew the flag for U.K. House.

C.J, Mackintosh set the production standards for U.K. Soul filled House and his 1993 remix of “So Deep” - sung by La’Trece - is a gem to be cherished forever and a day.

Network’s passionate crusade to crossover The Reese Project from House Music superstars to Pop success came tantalising close but never quite happened. But the Network remixes are a glorious legacy of House Music’s golden age and three of the very finest are remastered here and presented on one glorious 12.

Reese Project - Songs Not Slogans.

TAF KIF Records present their first release: Fools Gold Vol. I, a four track compilation with an eclectic selection of dancefloor-ready cuts for this summer.

Studio Barnhus' head honcho, Axel Boman, starts off the A side with a catchy bassline, hypnotic and nostalgic synths and ring modulated guitars. After being road tested for years, we are super happy to finally get to release his song "Oasis", a surfy summer heater in all its glory.

A2 comes from TAF KIF's own Velmondo, known for his work on Hivern Discs and Compost Records. He blesses us with "Echo Welt", a leftfield psychedelic excursion filled with Balearic vibes, krauty bubblegum beats and exotic percussion. What else could you ask for?

TAF KIF's MLiR, a usual name for those familiarised with the Studio Barnhus' catalogue, open the flip side with the mega sexy "It's Baby Time". Smooth operators in the house, baby!

Last but not least, Lusille delivers an afro fire starter called "Une Long Route", a secret weapon from the likes of Hunee among others. Very limited edition with just a few hundreds of copies, don't sleep!

For PT21 we welcome the mysterious duo, Carebears. After making an initial debut on our sister label OFFPath a few years back we knew it was only a matter of time before we welcomed them to the parent label with a full EP. Known for their raw analog sound this EP delivers exactly that. Punchy kicks, snappy claps and crisp hi hats are a staple throughout, interwoven with distinctive synth lines and infectious percussion elements. Label owner Niko Maxen rounds things off with a slick remix.

UK rising star Alisha joins the Eastenderz family for her first EP on the label. Expertly translating her ability to read a dancefloor’s demands, she’s created four classy cuts of top tier tackle that sit perfectly within the Eastenderz sound.

‘Visions’ opens, a heads-down roller centered around a hypnotic bassline and deft synth touches, before ‘Hallucinate’ hits with a driving slice of late-night power. On the B side, a twisted melting pot of punchy grooves, synth contortions and tripped out vocals via ‘Burnen’.

The full frontal ‘Offenn’ closes out proceedings - swung, slick and stylish with a pumping bassline and wiggly textures to keep the crowd entranced.


DJ Support :

East End Dubs, Enzo Siragusa, Toman, Seb Zito, Joey Daniel, Okain

Clear Vinyl

The debut album from Samuel Coates, AKA Setaoc Mass, crystallises the expansive, left-field vision that's been brewing in his techno-focused discography. Now, downtempo, drum & bass and electro-influenced soundscapes come through strong, as the Manchester-born, Berlin-residing artist combines a decade of dance floor experience and a lifetime of wide-ranging music tastes. The album's 14 tracks transcend the dance with rhythmic and tonal adventure. The urgency of Coates' techno records remains, though now suspended in an unbound space that switches between unpredictable body music and eyes closed moments of escape. Timeless melodies recall the golden era of UK electronica, while ultra-modern production drives the record's microscopic details home. A lovingly crafted collection of the tracks that have been kept for when the time is right. It's the sound of Samuel Coates, then Setaoc Mass - vulnerable but visceral music that demands your full attention.

“Sounds Like Freedom” is the second release from LA-based record label, Domanda Music. It was recorded in September 2021 in Verona, Italy and conceived by bass player Rosa Brunello with notable contributions from UK Jazz star Yazz Ahmed, Arabic experimental music pioneer Maurice Louca and Italian drumming sensation Marco Frattini. Each track is the result of spontaneous improvisations, which have been lovingly post-produced by Rosa Brunello herself and label founder Tommaso Cappellato.
Rosa Brunello is an Italian bass player and composer whose skills range from free radical improvisations to electric rock, dub and modern mainstream. She loves to blend acoustic and electronic sounds in order to challenge the boundaries between genres and live up to her motto of music without borders.

“ In search for unseen colours beyond the visible spectrum, Kangding Ray explored the outer fringe of club music and came back with a set of prismatic sonic crystals ”

Mr. K is back again with a double-sider that tackles the ups and downs of love and does it in fabulous style with two solid soul classics.

Yvonne Fair was a veteran of the soul music world when she finally got the chance to record her first full length album in 1975. She had recorded multiple singles under the guidance of James Brown (her “I Found You” was reworked by Brown into the chart-topper “I Got You (I Feel Good)”) and, after leaving the JB camp for the auspices of Motown, a clutch of 7-inches with Norman Whitfield. These were gathered together to form her first (and only) full-length, but before the album was completed a final song was added to fill things out. This last minute touch would turn out to be the crowning achievement of her career. “It Should’ve Been Me” didn’t seem to be a notable addition at first. The song was originally done by Kim Weston a decade earlier and then by Gladys Knight. But Fair’s version had something special. In addition to the novel addition of a percolating drum machine pulse, Fair imbued the lyrics with a heartfelt sincerity and gruff emotion that touched listeners in a way that other versions had missed. Released as a single in the UK in late ’75, the song rose to the top ten of the British charts by February of the following year, inspiring Motown to release it as a US single. The song never replicated its UK success in the States, but went on to have a long life as a staple of drag performances and gay club life. Gay club life being the heart of all great club life, it’s only natural that the impact of the song has continued to spread, from Adeva’s hit house version in 1991 to Miley Cyrus’s recent revival of the song. Danny Krivit pays tribute to this storied history with his own version, a simple yet effective edit that stays true to the original but gives DJs a little more room (and fans a little more time to sing along!) than the all-too-brief original.

Continuing on our theme of lovelorn loss and redemption, Mr. K turns his attention to the New Birth’s “Brand New Lover” for our B-side. While the original slowly moves from the tentative, immediate aftermath of breakup to the eventual positive path forward, Krivit’s edit jumps straight to the joyous resolution to find new love, riding a delicious call and response chorus punctuated by signature breakdowns from master producer Harvey Fuqua. Danny’s edit provides a natural uplifting opportunity that never stops building over the course of its extended five minutes. Until now, the track has only been available on the group’s debut 1970 full-length, and never on a 7-inch single.

As always, this release has been mastered to the highest standards and is certain to find a spot in the bags of discerning listeners and DJs alike.