Search:the house crew

On his debut 12" EP, Chicago producer and bike messenger DJ HANK captures the feeling of racing against traffic and, as he puts it, "trying to make it out alive with the chaos of the city going around you."

DJ Hank grew up in North Carolina, Eastern USA. As a teenager, he began making rap beats on pirated music software while also DJing and playing keyboards in experimental punk band Whatever Brains. In 2011, at age 18, Hank moved to Chicago to pursue a career as a bike messenger. In a city dominated by 21+ clubs and venues, Hank gravitated to the famous footwork hub Battlegroundz due to it's all-ages inclusivity and raw energy. DJ Rashad, DJ Spinn and other luminary figures of the footwork community spun weekly, while dancers spanning multiple generations and crews battled it out on the dance floor every Sunday.

Through the underground network of Chicago footwork events, Hank became a close and frequent collaborator with international footwork collective Teklife. He has released music on Teklife's record label but isn't a member of the group itself. In similar fashion, he's loosely affiliated with dance group Take Ova Gang (TOG) founded by DJ Manny. Hank maintains a fluid relationship with the footwork culture from which his sound draws. Beyond collaborating with his friends, Hank has collaborated with Chilean rapper Catana, Berlin-based DJ Paypal, and Floridian DJ Orange Julius.

On "Traffic Control," however, Hank explores a wide range of sounds, from melodic to experimental, influenced by everything from UK Garage and Grime to Ghetto House and Snap music (or Southern Hip hop production in general). Artists like Kode9, MachineDrum, and Sherelle have been supporters of Hank's music, playing his tracks throughout multiple recorded sets. In a live setting, Hank has shared the stage with such influential acts as Loefah, DJ Deeon, Sporting Life, DJ Spinn, Traxman, and pioneering footwork artist Jana Rush, who has been both a friend and mentor to Hank during his formative years in Chicago.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

Some sort of low slung house tracks with a twist from the unpredictable and unparalleled brain that roams the dunes of the Hague. Responsible for Dickie Smabers & The Moerwijk crew, Nacho Patrol, Gladio and a swath of other mysterious and inscrutable aliases. This one comes straight from his private rave cave. Hermit in a Rave Cave is Legowelt's latest project and this is part 1.

Yellow Vinyl

In autumn 2019 the label Beat Art Department released Soia's third album "Where Magnolia Grows" with great success. With "Where Magnolia Grows Remixes" the album gets a new coat of paint. A handful of greats from the European hip-hop scene were won over for the remixes. L One (ATP Crew, Beat Art Department) and C.O.W.? (Compost Records) from Munich, Moo Latte (U Know Me), Copenhagener by choice, from Warsaw, Franchise and MEZ, both from Vienna and FVLCRVM from Bratislava.

Moo Latte provides the first remix of Soia’s “Where Magnolia Grows” album, and took “Fractal Spirits” for a new ride! The two Hip Hop/Neo Soul/Jazz artists first met on Soundcloud and have been sending vibes through the ether between Copenhagen and Vienna since then. The “Fractal Spirits” Remix is a first taste for their upcoming EP called “Spiritual Housekeeping".

The second “Where Magnolia Grows” Remix EP teaser re-work comes from C.O.W. ?.
Running with the cows. Soia’s sound is so exceptional that the German-Chinese producer collective didn't have to think twice when asked to remix her success single Running With Wolves. This chilled but pressing version is another highlight in the collective's career…

As the third remix comes the smooth, laid back “My Tiny” Remix by Bavarian beat smith L One.

For the new remix from Soia's "Where Magnolia Grows" album, Bratislava-based house producer FVLCRVM has taken on "Hoe For Love". FVLCRVM made a real floor filler out of the slow jam "Hoe For LOVE" with a mixture of house, glitch and broken beat.

We have a very special new artist for you from Berlin. Dutch native Pete Bandit relocated to Berlin some years ago where we first met in 2018 when he was part of the “Times Are Ruff” collective. They contributed a track on Dirt Crew for our “Deep Love 2018” compilation.
Now recently going solo he developed his sound even more towards Detroit-ish house with dabs of techno and a bit of high tech jazz in there as well. This debut EP offers Loads of deep soulful grooves, spiritual “computer” music at it’s best!

The A-side “Wild Feelings” is such a beautiful opener to this record, with it’s lush spread out intro it paves the way with that perfect mood for what is to come, a mix of soul, funk and electronics and overall well crafted deepness. The keys on this one were contributed by the mysterious “Nelson of the East” topped with vocals by Pete himself. “It’s Happening Again” continues the story with soulful deep house textures and this one especially reminds us a lot of those early 90s Chicago/ New York House gems, the track is building towards a great breakdown key change and with its atmospheric strings and pads it’s a truly uplifting “Good Times” tune.

On the flip we have “Computer’s Creativity”. This track picks up the pace and is centered around a funky, almost slap like, bass line. Here again topped by a vocal add of Pete about “Computer’s Creativity” and with it’s cool break this one will also be a sure floor filler, guaranteed! The closing track on this record is the driving “Luv Your Body”, great percussion guides us through a loose set arrangement and make this one a perfect late hours or early mornings tune in any mix, it could go on forever!


All tracks have been mixed by Ariel Schlichter in Berlin and mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.

Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.

They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.

This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.

Back from a hot summer we are presenting you this great new release by Steve Mill who truly captures the sun and warmth in these new jams for us. The Greek born artist who lives between Berlin and Thessaloniki just released his “The Mistake EP” on Tensnake’s own True Romance label where we could already hear his soulful and groovey disco infused sound.

The opener “Love Attack” is a real “good times” tune with catchy vocal snips and a bad ass funky arpeggio bass line topped with spaced out strings and pads, this one reminds us a lot of Krystal Klear material and our own Lorenz Rhode. Saying that, we of course could not think of anyone better than him to take on this tune and drawing the inspiration to create his own super funked up version! As always all parts are played and recorded live in his Cologne studio with the same hot summer vibes on this one as well! You can find the vox version on vinyl and an instrumental as bonus digital track to get your party really started. On repeat!

“Make Me Feel” featuring the Berlin based vocalist Tee Amara has disco flavors all over it and is just an irresistible house tune, majestic and soulful. Followed by the slow and developing “Next to You” that’s steadily building towards a crescendo “heaven” gem, much in the tradition of disco edits from back in the 80’s. It reminded us a lot of our old Ben La Desh records we put out some good 10 years ago. Maybe this one is our personal fave, for sure a tune you could drop on any floor: disco, electro or house.

Get in the groove with Steve and Lorenz and let us surprise you with a truly funky, groovey and above all positive vibes only release to reminiscent the summer time. Enjoy!


All tracks have been mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

Kampana put together arguably their hottest 7" so far, with two heavily in demand tracks from Brazilian producer Ruas, who shows his creativity, blending unique samples with live musicians.

"All the Way Down" is a monster jazzy disco-house number, with freshly recorded drums and up-front bassline, taking the groove levels off the chart on a retro soul vocal.

On the flip, "Like You" sees Ruas digging deep to find the unmistakable voice of a true 'royal' legend hyping the crowd in a rare live interlude. Ruas went into the studio with his crew of Brazilian musicians to record a full instrumental to blend with the vocals. The result is a jazz-heavy track that sounds like it could easily have been discovered in the artist's lost archives and will cause a riot on the dancefloor.

FIRST TIME ON 45! GERMAN JAZZ-FUNK AT ITS BEST!

The Frederic Rabold Crew was found in 1968. The group soon became a well known name within the german modern-jazz scene. On behalf of Goethe-Institut they toured through several eastern european countries. Between 1972 and 1980 they released a total of six albums. The two tracks to be found on this 45 are taken from the 1975 album "Open House". Another fabulous track by Frederic Rabold Crew can be found on our spiritual jazz compilation album "Peace Chant". Well worth to check out too.

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named the Back Street Warriors, Busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with the Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genres of music, he first played on
RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90s he played on Weekend Rush and then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early days MixMaster Max was one of the Innovators of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping others to produce, fuse & gain ideas in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the famous Hacienda club in Manchester.
He was the First DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC world championships in the early 90s.

He played at some of the Biggest Raves back in the day, Pirate club 93, Fantazia 92, Dungeons 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People's Choice, which were legal Radio Stations, not forgetting Kool fm & Centreforce.

He performed on stage with the We Papa Girl Rappers in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchuckers & TurnTables!
His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult
figure that inspired us all, giving us the freshest musical styles that had never been heard before!

The Exit Planet Earth series continues with the first ever collaboration between two undisputed electro-funk heavyweights Egyptian Lover & Soul Clap. Egypt knows how to rock the TR 808 like no other and has been a true player on the LA electro scene since 1984. While Soul Clap have forged their unique E-Funk sound coming out of New York City as part of the Crew Love collective. The resulting track 'Hai Karate' is a slice of superbly produced classic electro designed to rattle bass bins from Miami to Mars.
Following form in classic electro directions, Futurenauts present their debut track 'We are the Futurenauts' that brings a slower based groove reminiscent of 'A Love from Outer Space' into the cosmos and delivers a powerful message to humanity. The flip sees a welcome return to 20/20 Vision from the Maltese magician Sound Synthesis who continues the vocoded vocals but adds a state-of-the-art assault on the senses with a slamming track aimed firmly at the discerning dancefloor. EPE 08 is finished off in fine style by Mick Wilson & August Artier with 'Akira's Cry', which fuses a deep house bassline and chords with tight break beat programming and powerful lead strings.

Lisbon’s Larry Quest joins the Pleasure of Love crew with an impressive sonic journey of all things house, balearic, and tribal.

After releases on Delusions of Grandeur and Log Records, Quest delivers his most refined EP yet, harnessing his knack for live/analog synthesis & soulful, hypnotic grooves.

'Blue Tide' leads off the EP with a wave of pads and deep sax soulfulness before giving way to a bubbly, modular groove. 'Hold Function' finds LQ exploring a tribal, almost trance-y take on Detroit techno/house foundation. And on the title track the producer eases into a throwback mid-90s house vibe with bursts of M1 organ and Rhodes stabs.

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.

Like the MIMIKOTO project’s previous albums, also “Blackbird’s Philosophy” can be described as a symbiosis of jazz with electronic music and other styles of groovy stuff.

On this album the electronic elements melt into the acoustic sounds and rhythms on a quite subtle way, while the acoustic patterns partially adopt styles of electronic music reminding of deep house, ambient and Detroit house.

Jazzy Rhodes, bass, drums and sax solos performed by jazz-rooted musicians like Darius Blair, Uli Schiffelholz, Johannes Schwarting and Justin Zitt, play a more important role than on former releases and bring nuances of funk, modal jazz, free jazz and bebop to this album.

With Fabio Kumori’s string orchestral sound created with upright bass, effects and looper in the track “Notes from Kirishima”, even elements reminding of classical music and atmospheres from soundtracks become a part of this album. These elements merge with rhythmic sound arpeggios of analog synths and vibraphone, which create a maybe unknown style of new music.

On the last track of the album, namely on the track “Blackbird’s Philosophy (Part II)”, you hear the soulful and expressive voice of Noomi Mae Coleman, who joined the MIMIKOTO crew in 2020.

The MIMIKOTO project was founded in 2019 as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet

A family affair since the early days, WOLF Music have been shining a light on the scenes and sounds the duo are ingrained in. Staying true to form and rolling deep for WOLFEP065, the spotlight turns to a selection of familiar faces and new recruits for a four track VA EP that’s strictly for the groovers.

WOLF OG, man like Medlar kicks it off in signature style with 'Bandit', a heads-down, techno-tinged trip. Machine music with the soul of south London. Next, professor of the dark arts, Manuel Darquart, conjures up the aptly named 'Euphoria' a deep, ‘90s leaning house excursion, synth wizardry and all, that works just as well as a sunset cruiser, as it does an end of the night closer.

On the flip, two long time listeners, first time callers, with a double dose of debuts on the label. Jon Sable takes the B1 with 'Infinite Care', offering up that trademark strong and Sable, In Dust We Trust flavour. Deep, emotive, intricate house with a nod to the worlds of Bruk and Chicago house melded together with that NZ feel.

Closing it out, debut number two comes in the form of rising star moon who lays down a beatsy, broken earworm ‘Handmade’ featuring some dreamy bars from Tamu.

Full crew, through and through – this one hits different!

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.

For their second installment, the Chateau Chepere crew brings on board legendary producer Stephan Laubner under his STL moniker, with four time warping pieces of music. With his distinctive and intricate sonic palette, Laubner extracts from his hardware different musical colors and shapes to produce singular atmospheres. Opening up the EP is Fly Fly, an epic 11 min minimal house trip full of tension and excitement, followed by Eargrind, an eerie, laid back Detroit leaning ballad. On the flip is Light Up, a spaced out, playful and bittersweet number that will revitalize any hazy after-hours dancefloor. Closing up the EP is Unlike Dislike, a quirky, jacking and mischievous techno workout for the packed club. This diverse ep will pull the listeners and dancers into Laubner's multifaceted, low key but captivating universe.

In this first release, four seafarers coming from across France set off for a unique music journey. Grotz with his deep tech-house and up-beat touch. Ionescu with his groovy minimal combining a jazzy flow with rhythmic breaks. Sunaas and his 90’s references with a mellow and acid punch. Sekance with his trance and electro beaming vibes. It is a melting pot of styles and sounds representing the label's core: a unique quest for sounds that the artists chose to share in every release. Through this first eclectic EP, the crew of 3 MÂTS invite us for a sea sprayed journey right in the heart of emerging house music.

Anchors aweigh!!

Another big-hitting, small format slice from the PINA Crew!

An the A side we have a deftly extended Funk workout that just won't quit.
Over on the B, we have a slinky house jam based around a nicely sliced Joe Coleman loop...

Simple, effective jams on limited edition 7"
Floor food for all moods...TIP !

Our man in London is back on the label! Exactly 1 year after his first release on Dirt Crew and two very successful records on
his own new imprint “Income Trax” and the New York based “Razor-N-Tape” label. Clive has been consistently growing his following this past year and refining his sound and production. So now we are truly excited to welcome him back, especially as this release will also be on a limited 12” vinyl.

The opener “Pearls” features the amazingly talented London based musician/ composer Jessica Roch on violin and vocals.
It’s an uplifting electronica meets deep house track that shines with positivity and beautiful melodies based on an analogue synth foundation by Clive himself. Truly a new addition to Clive’s musical language.

The A2 track “4 Time” is a swinging groover featuring a lush deep beat topped with piano and strings stabs and consisting of great funk all over. Followed be the super fun “Rough and Tough” as first track on then B side. Clive really gives us his new summer anthem here as far as we are concerned. Dance floor happiness guaranteed and we can’t wait to hear this one in an open field and on a big sound system!

As a treat for all fans, we decided to give “Gravitate” the well-deserved vinyl spot as the closing track to this great new record. This jam got massive support over the last months and is Clive’s best performing track on the digital platforms. Here we remastered it especially for vinyl and it sounds doper than ever! Enjoy!

All tracks have been mastered by Salz Mastering in Cologne. Art & Photography by Break 3000.

* A welcome reissue of this long-deleted classic digital dub album from the deadly dub duo - The Bush Chemists.
* Originally surfacing on the Dubhead label in 2001, `Dub Fire Blazing’ was the follow up to `Light Up Your Chalice’.
* 10 slabs of throbbing heavy-weight bass pressure from The Bush Chemists crew.

In November 2020, with the entire world locked down at home, Amir
Bresler was itching to create - He'd spent years onstage, but never
released a full solo album

A friend's invitation brought him to a rural village outside Tel Aviv, and the move lit a spark: Bresler set up shop in the village's local auditorium named 'The House of Arches', and planned single-day sessions with different combinations of Tel Aviv's finest, including keyboardist/ producer Rejoicer, Yemen Blues frontman Ravid
Kahalani, bassist Gilad Abro, pianist Nomok and trumpeter Sefi Zisling. For nearly a week, crews of friends drove north and dug into psychedelic jazz and funk, all built upon Bresler's polyrhythmic beats. They captured spontaneous bursts of energy ' free-form jams in the morning reigned into tight, mesmerizing grooves in the afternoon. Those six compositions ' each recorded live in one day ' make up
House of Arches, Amir Bresler's first solo LP, out on Raw Tapes, with grooves as deep as the Mediterranean where it was conceived.

Originally released in 2002 in partnership with NME to celebrate their 50th anniversary and 50 years since NME printed the first ever singles chart in the UK. 1 Love saw the cream of British artists come together to pick their favourite number one to cover. Having appeared on the 1995 HELP album, Oasis continued their support of War Child with an acoustic rendition of Slade’s Christmas classic ‘Merry Xmas Everybody’. Stereophonics chose ‘Nothing Compares 2 U’ with Kelly Jones’s gravelly vocal complementing this stripped back version of the track written by Prince, performed by The Family and taken to number one by Sinead O’Connor in 1990.

Much to our delight, the newest Dom Trojga offering comes from Olivia. The Unsound Festival resi-dent and We Are Radar crew co-founder is undoubtedly one of Poland's most beloved DJs, with deep crates and a singular musical vision spanning electro, techno, industrial, EBM, Italo, and wave music. She had been active on the underground circuit, both locally and internationally, for over a decade before she moved to distill her style into her own recordings. After well-received releases on K-Hole Trax and Pinkman Records comes New Life EP, dedicated to her newborn daughter. As un-compromising as ever, and refusing to adhere to the norms of more conventional dance music, the material is teeming with - well - life, and displays a subtle, non-linear playfulness often lost on techno and EBM music these days. Whether it is the constantly building title track, raging "Laser", housed-up "Hidden Gem" or the mutant-disco of "Magic Walk", the record's squelching 303s, wild drum pro-gramming and unhinged synths take you where you need to be! The cover was designed by the 3D artist and photographer Ma?gorzata Pawi?ska. Dom Trojga - live anew!

For their first installment, the Chateau Chepere crew brings a diverse EP from ambient house maestra Rai Scott.

Opening the EP is 'Logical Positivism', a deep, driving and cinematic nod to the forest dance floors of the late 90's. On 'Inspired', Rai brings the club in an introspective, melancholic mood. Slower, steady beats with rolling percussions and dreamy pads to shroud the dancers.

Picking up the pace is 'Open Your Eyes', a warm, bitter-sweet piece of house from from her own alter ego Serendipity. The club friendly 2021 rework shifts into an early morning vibe, while keeping it deep and moody. Closing out the EP is the title track 'Anahata Nada', a gorgeous, warm piece of ambient for the chill rooms.

One On One Crew are Leslie Lawrence & Danny Arno. They experimented with various styles and directions with the aim of creating different music; a deep house sound. There are strong influences from Detroit and Chicago, but still with an unmistakable London style and identity. Both tracks were produced in 1989, and this is the first time either are released on a full length 12".

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

The third compilation EP to commemorate the 20th anniversary of the establishment is Coastal Haze under the umbrella of Church,

An up-and-coming duo from New Zealand, Manuel Darquart, released on Wolf Music and others. The long-awaited first vinyl version of the popular song released digitally only in 2016.

The dense sound world with a wide range, including the impressive synth bass that penetrates the song, is unique to vinyl release. Including mastering by

Mr. KUNIYUKI, this work that realized a thick groove that is different from the time of digital sound source, there is no doubt that it will shake the entire space.

The up-and-coming French beatdown house S3A, whose long-awaited first album from Dirt Crew was well received. It's no wonder that he grew up listening to Detroit house,

and his unique sense of exquisite combination of sleezy beats, muffled texture and breathing such as disco funk is an excellent work.

The space is gradually filled with layers of euphoria that folds down, and the feeling of exhilaration and sophistication is irresistible!

The Japanese twin duo SATOSHI & MAKOTO, whose two albums released from YOUNG MARCO's label attracted a lot of attention, remixed the songs of SATOSHI FEAT and KUNIYUKI.

It is a remix of the work that was recorded in the label's 20th anniversary edition "20 YEARS SOUND OF SPEED RECORDS VOL.2" and was well received, but it seems that they were strongly influenced by early techno, and there is a melancholic synth work that drifts. The finish that is drawn into. It's a wonderful remix with respect for the original and a fusion of your own colors.

KUNIYUKI is in charge of mastering

First ever vinyl release of the soundtrack for this Wes Craven classic from 1991.

Limited Electric Blue and Oxblood "AsideBside" with Brown Splatter.

Composer Don Peake created an incredibly atmospheric and spooky score for this film. Peake's career is insane –as a guitarist and member of the Wrecking Crew, he’s played on albums by Marvin Gaye, Phil Spector, Everly Brothers, Mahalia Jackson, John Lennon, Jackson Five and more.

It's an incredible career and his musical diversity shines on this score. Fun fact: People Under the Stairs opened at #1 on the box office chart and stayed in the Top 10 for a month.

Lockdown took its toll on Clive. Not the isolation or sense of impending doom - that was normal - but specifically the worldwide marmite shortage in April. On the verge of a 'Driving to Dundee barefoot' style meltdown, Clive found solace in his 20 year obsession with Alan 'foot on a spike' Partridge.

Taking Musique Concrete to its textbook conclusion, Clive has made music only using sounds from TV series 'I'm Alan Partridge'. Over 100, mainly foley samples were repurposed into the two title tracks of the Alan EP.

Alan A is a raw yet melodic, big plate of House. Containing everything from drawer slams to air bass, cereal destruction to Black Beauty, this orchestra of found sound makes for some unique and exciting rhythmic textures. Grab a cup of beans and enjoy.

Things take a dubby turn for Alan B. Late night broken beats and sultry bass worthy of Alan's Deep Bath. Featuring Lynn on jungle time-stretched vocals.

The EP is bought to a close by off-kilter acid-tinged synthwave nugget, Linton TT. It doesn't fol-low the Partridge sampling rules but needless to say has the last laugh.

Bonus Easter egg for the vinyl heads is a "Dan!" locked groove at the end of side A. Cook a cat!

Label info:
Income Trax is Clive from Accounts' filing cabinet of curiosities. Home for his more eccentric and exotic ideas.

Artist Bio:
Regional tiddlywinks champion, stationary cupboard loiterer and all-round beige sky thinker, Clive From Accounts likes two things; pens and music. But mainly pens. Using springs, tape and old synths with fonts he admires, Clive creates the musical equivalent of warm photocopies. If it's going to be that kind of party, Clive's going to put his Filofax in the mashed potato.

It's been an interesting couple of years for Clive. After being picked up by keen-eared funk wizards Fouk, Clive's vinyl debut hit the shelves perfectly to coincide with the largest record shop and club closure in living memory. Undeterred and with a fire in his belly no amount of pepto-bismol could squash, he pressed on.
A string of releases on highly respected labels On The Corner in London (making the Guardian's best tracks of 2020) and Dirt Crew Recordings in Berlin have led him nicely into the second half of 2021 with an EP on New York disco colossus Razor n Tape and the debut release of his own label: Income Trax.

Scottish DJ Ewan McVicar is tipped for big things, having found support in the likes of Annie Mac and Fatboy Slim. After a stellar year crowned with a release on the hallowed Nervous Records, he makes his debut on Shall Not Fade's "Basement Tracks" series with five explosive earworms.

Amnocairn EP collects the most classic sounds from the dancefloor and melts them together, styles blending throughout songs to keep listeners on their toes and dancing. The title track is a sweeping marriage of insistent house piano and washy dub techno synths, leading into the sugary, hardcore "1001 Freestyle" that calls back to early Lone tracks. Then one for the after hours crew, "Ha Mez", a syncopated 303 techno roller.

McVicar keeps the party atmosphere close across the B-side, flexing laser-cut synth arps with a dark, big-room edge on "Stu Boy", before crowning the EP with a gorgeous sun soaked party number "See U Thru My Eyes", jazzy inflected house with a 90s aesthetic. This EP has something for everyone, bringing together eclectic influences into a smooth festival-ready record.

Moonoton is a local treasure: Andrei's tracks circulated in a local DJ crew for about a decade or more, and always been a secret weapon.
Actually this record was due to release for quite a while too, but it turned out that these tracks only got better with time and also now there's a bonus deep version by the label music head, Lipelis.

Bye By Buy is a perfect tune to get the floor's attention while you're starting the night with its super catchy vocal cuts and a piano riff.
Someone Else gets you in a late 80's NYC night cluB with a garage-like groove and a hint of classic house stabs.

Hard To Stop is a melancholic groover to close your set or, in this case an EP.

Honey Soundsystem Records (aka HNYTRX) is pleased to present its final twelve inch of 2016, the 'Sensual Works' EP by Beesmunt Soundsystem. Unbeknownst to each other, the Honey crew in San Francisco and the Beesmunt duo in Amsterdam have been brothers from another mother working away in their respective zones for years. A bit of internet sleuthing and the two entities found each other, perplexed by the similarities in namesake and good vibes. Before exchanging a single word, earlier this year David and Luigi of Beesmunt sent Honey some demos. They were a declaration of peace and understanding of sorts and both "sound systems" immediately fell into one. The three tracks romanced all the Honey sensibilities including references to San Francisco 80's Hi-HRG synths, early House drum machine workouts, and melodic lines you can make-out on a dancefloor to. To make the marriage official, Honey enlisted its own Jason Kendig to remix the A-side into a no-nonsense thumper with a heart of gold. We think these tunes are going to become as reliable on the dancefloor as the Sequential Circuits drum sounds and DX7 patches they employ. Whether it be ending sets with the euphoric Blissed Out' or peak-time banging call and response of Playin' Myself', Honey finally shares its best kept secret weapons of the year with the eager public.

Philly’s Universal Cave crew have been putting out top notch edits and mixes on their own imprint for nearly a decade, including the beloved Soft Rock for Hard Times series.

For the first time, Universal Cave teams up with another label, Pleasure of Love, for a release of reworks, delivering 4 stitched up dance floor heaters. Variety pack of choice cuts here - reggae proto house, lo-fi 80s digi funk, peak-time piano charged house de salsa, and driving atmospheric italo. All expertly re-rubbed, from the vaults of the Universal Cave.

Since her debut onto the techno scene with the 2018 release of her EP 'Post-Traumatic Rave Syndrome' on Paula Temple's "Noise Manifesto" and a string of international festival and club appearances, Femanyst has gained a reputation for militant individuality. Akua Grant sets herself apart from the crowd with her aggressive & unrelenting industrial techno sets tinged with elements of Hardcore and Gabber. She has become known for her rebellious and innovative style in her adopted home of Berlin. Her self-assured approach to gripping and brawling techno tension sees her perform a fast paced and fervent flow on the dance floor. Femanyst continues to bring her unapologetically bold signature sound with her own techno imprint "Dark Carousel" as an extension to her much revered DJ sets of twisted and aggressive, high octane electronic music.


A2 Fluid - Post Industrial Transformation
Fluid is a queer DJ and producer based in Berlin. Supporting FLINTA* DJs, producers and party events are one of his priorities. His first release begun in January 2021 and he is still modelling his sound. His interest in electronic music goes from industrial techno to ebm to trance to hypnotic techno.

Post Industrial Transformation is a track which combines aggressive sounds and a lot of industrial elements. The transformation refers to Fluid's evolving own path. This evolution is similar to the tension that builds up all through the track. This track evokes change, modification, passage from one form to another.


B1 Hybral - Unheard Voices
Hybral is a Berlin-based non-binary DJ and producer drawn to eerie energetic industrial techno. They mix and produce haunting techno, EBM, and noisy-driven experimental sounds. Hybral's productions are made of dark atmospheric patterns linked with pushing percussions and basslines as well as heavily distorted kicks and harsh industrial noises. Mixing DJ sets the track selection is ranging from contemplative ambient to stern and fast techno - connecting vast influences from Hybral's personal experiences of spending days and nights on Berlin's dancefloors. They are founder of the queer label, podcast, and event series 'Subverted' which focuses on a distinct program aiming to lead dance music back to its roots of resistance and diversity.


B2 Marsch - Mrs. Jones
Marsch is a Berlin-based dj and producer from France, who initially began 8 years ago as a music curator and selector. She started to produce when she moved to Berlin, and has mostly been focusing on this for the past few years. She would define her music as a balance between melody, energy and texture, with a blend of minimalistic elements, rhythmic and percussions, and voices and futuristic synths.


DURCH BLN/TLV is a queer collective with a clear vision of solidarity and community building. DURCH operates in Tel Aviv and Berlin trying to bring queer people together, building a culture of inclusion, diversity and tolerance. In the tradition of original raves DURCH organizes solidarity events ranging from parties, to art and community events, with the strong belief that raves are a much needed place for people to come together, celebrate their diversity and learn to respect each other. Musically DURCH is eclectic inspired by hardcore, straight forward techno, ghetto and scouse house and 90s acid.

We proudly announce the release of our first vinyl record "dogged boldness". This is a long held dream by the entire crew. With Femanyst, Hybral, Marsch and Fluid we are happy to showcase four artists that are close and dear to DURCH BLN/TLV. The record is a compilation of four hard-hitting, inciting techno tracks. Rough, bold and aggravating, just the way we like it. We are proud that we are able to continuously work with queer artists and to be a platform to further queer artists visibility.


Disclaimer: The world needs more queer artist, more queer music, more queer techno, more queer perspectives, more queer love and more queer intimacy.
No place for any racist, sexist, trans- or homophobic shit.

Artwork by Rory Midhani
Mastering by Chlar

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Adam Cook aka Tommy Rawson returns to Bergerac with another killer EP of uplifting, tropical deep house, broken beat and Brit funk vibes. Following on from 2018s Gilles Peterson hammered 'Deep Blue' EP, he returns to Red Rack'ems Bergerac label with an absolutely killer 3 tracker which showcases the Watford, England based producers world class musical chops. Surely a contender for THE summer record with a sun kissed Brit funk A side which is tailor made for the WWFM and We Out Here crew. A tropical house and broken beat burner make up an equally strong flip. We are very happy (and relieved) to be presenting to you an absolutely belting EP of UK soulful dance music.

It's nothing short of a miracle that the A side track 'Illusions' has ever made it on to vinyl. Jonna from City Fly remembers 'Adam had this on a CDR at Southport in 2008 and it became our official track of the festival as we all partied together the whole weekend it got played again and again back at our Chalet parties'. But then as these things often sadly go, the funk diamond was lost for a few years in the digital ether. Fast forward to 2014 and Danny Berman aka Red Rack'em is playing a 320 of 'Illusions' everywhere but alas it's just a demo and Adam can't locate the arrangement to complete the track as it's on a broken computer in his Mums attic.

Then finally this year, after many pleading emails and plenty of gentle cajoling, there's some amazing news! Adam has located the broken computer and after a day of digital open heart surgery, and then a re-edit over Zoom (no really) we finally had the killer, classic UK soulful anthem you're listening to today. A voice over from a disco documentary cleverly introduces each instrument on the intro before Tommy pushes the button marked 'biggest bassline of the year' and takes us into boogie heaven.

'Sound Crazy' on the flip is another one of those classic Afrobeat tinged Tommy rollers. Big room vibes but with a lot of soul. Rolling broken drums and a huge bassline combine with plenty of spicy, tropical atmosphere on top. The trademark Rawson uplifting chords begin after an anticipatory vibe filled breakdown, taking you to the stratosphere.

'Ads Mood' is the most 'classical' broken beat track on the record, but they are all playable in multiple environments and transcend mere genres. Heavy bass and extra funky syncopated beats climax into a beautiful almost orchestral feel to close off an exemplary EP of higher quality moods and emotions. Don't sleep.

Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35,000 sessions and 6,000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector's de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes' single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.