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*all original recordings from mid 90s Estonian released cassettes. Fascinating interpretations of the UK breakbeat and Jungle sounds recorded when the world felt like a much bigger place.

Since hearing the first breakbeats via the Finnish radio nightly shows introducing the burgeoning UK scene, Virko Veskoja, later head figure of Lu:k, was completely swept away by this new technological language that sounded like machines trying to initiate contact with people. The fluttering rhythm patterns, strings and vocal lines haunting the pathways of the infinite network. Like hip hop taken over by Skynet.

Reimagining it all in mid-90’s Estonia, a fresh and dirt-poor republic newly welcomed to the family of sovereign states on the outskirts of Eastern Europe, was challenging, to say the least. Finally, with the help of entry level music programs, custom-made soundcards and self-built computers by the other Lu:k-head Tõnis Valk, Lu:k took the first tentative steps in the history of Estonian jungle.

Eight Lu:k cuts have been compiled into a handy selection, a true sign of the times when uncertainty came with certain hope and optimism – new territories to chart, new frontiers to conquer. A time of innocence captured so sublimely in Lu:k’s music.

The compilation starts with menacing orchestration that sounds like the birth of a civilization, like in „2001: A Space Odyssey“, or the arrival of Godzilla, only to give way to sweeeet strings and the inimitable Minnie Riperton in “Lovin U”, combining all the essential elements of Lu:k in a track that has remained uncorroded by time since its inception in 1994.

The following “Demo 3” is its antithesis – fast and nervous, a harbinger of the darker days of neurofunk and techstep ahead. More in line with the social realities of the time, when something (or someone) could materialise out of thin air and attack you just as violently as those beats here.

“La:v” was Lu:k’s signature track throughout their brief career that went on only for a few years, 1994-1997. Lifted to heaven’s by Petula Clarks’s wonderful vocals, it perfectly captures the pure essence of creation. “I made it in my bedroom. Something like that just came out. Sorry”, says Virko apologetically.

From the themes of love we are led towards darker scenarios again with “Drunk-Drive”, a more vengeful cut reminiscent of early Ram Records’ nocturnal dangers, skylines shaped by basslines. Previously only available on the uber-rare “Raadiomaja valvelauas” CD compilation from 2005.

“In the Limelight” is lifted from their second album “Dreams in Drums” from 1996 (only released on cassette), and if it’s meant to address their new-found underground celebrity status in Estonia, there is surprisingly little elation here – the track rather consists of introspective strings and beats that sound almost melancholic.

Out of the remaining three tracks, “Proov2mix” and “Kadunud leitud” are the result of a treasure hunt amongst the old, obsolete harddrives – little nuggets that were condemned to obscurity until now. Between them, another vocal-led cut “010”, a non-album track only featured on two comps until now, is a strong reminder of Lu:k’s prodigious ability to handle vocal lines and morph them together with their own weaving synthetic melodies, strong pads and commanding beats.

Lu:k’s music has been largely unavailable for the better part of this century, with original tapes and CD’s changing hands for a small fortune. This vinyl release couldn’t come at a better time, bringing a seminal chapter of Estonian dance music’s mythical history to light again, both for the old-school acolytes and new converts.

All music by Virko Veskoja

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

Bruce returns blistered and ablaze, with three flame-licked, windswept and deadly dancefloor deities on 12” vinyl, for the second edition of Poorly Knit.

Following on from it’s daft and fisty older brothers on The Price / Mimicry, the raw power of wind and fire takes over on Belly / Burned Alive, as we are plunged into devastating sonic worlds, adorned in UK sound-system badness and Mother Nature’s vengeance.

Providing elemental catastrophe catharsis, through sound exploration, Belly’s steppas storm of wailing wind and clattering thunder is backed by Burned Alive’s soaring and demented UK garage inferno, to finally subside to the smoldering, dubbed-out vocal remains from Hot One (Chapped Lips Version).

With a continued emphasis on the importance of physical medium within dance music, the digitals are an abridged edit of the full release; Hot One is vinyl only and only on the vinyl can you hear the full mixes of Belly and Burned Alive. Pressed on eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves, each record is a unique shade of marbled storm grey. Cut loud at 45rpm, not only does this sustainable slice of dance floor mayhem come at an attractive price tag, you can rest assured that sound quality has not at all been sacrificed.

co:clear is overjoyed to welcome Jonnnah to its fold, with a new long-form 12” edition. Featuring Pavel Milyakov (aka Buttechno) right off the bat, ‘Me, With You’ is an album that grips its listener tight with gleaming electronica, off-kilter trip-hop and swampy bass.

With past offerings to Soleil Rouge and Second End Records – a label which he heads – there's a thread that laces all of Jonnnah’s work. Although never sticking to a definable bracket, the Lyon-dweller effortlessly floats through various tempers, peddling impeccable electronics as equally suited to colossal sound systems, as they are to solitary early morning walks in headphones. It's ambient for the foreground that surprises with flurries of two-step and amen breaks – present-day sonics that doff their cap to what’s come before.

Out on limited edition 12” vinyl & digital, 30th May 2025. Limited to 200 copies.



Credits:



Written & Produced by Pierre Paumier

Featuring Pavel Milyakov

Mastered by Ike Zwanikken

Lacquer cut by Pitchcraft Mastering

Artwork by Conna Haraway

Distribution by Rubadub

Ltd edition!

to rococo rot?s the amateur view (1999) will be reissued as a highly limited expanded edition, featuring 12 bonus tracks on an additional disc, a new gatefold sleeve with previously unseen photos, and liner notes by Jon Dale. The Amateur View is widely hailed as one of the definitive records of late '90s analog electronica. Released in the U.S. via Mute Records, it was named one of UNCUT's Albums of the Year in 1999 and perfectly captured the introspective, experimental mood of the era. The album's influence was far-reaching-so much so that Saint Etienne enlisted To Rococo Rot for their 2000 album Sound of Water. At the time, To Rococo Rot were the band of the moment-jetting across the globe to play the most cutting-edge electronica festivals, including wild WARP events where none other than Aphex Twin spun support DJ sets, The trio was invited three times by John Peel to record radio sessions in the BBC studios between 1997 and 1999. Bands like Modeselektor still cite them as key influences and pioneers. Stephen McRobbie of The Pastels, Mark Fell (SND), and Kieran Hebden (aka Four Tet) are all big fans-Kieran even remixed a track from their debut album so did Mira Calyx and Daniel Miller of Mute, a longtime supporter, and yes Björk is a fan too.

In a blizzard of breaks and surrounded by towering slabs of icy atmospherics, Quelza comes spinning into the Dekmantel UFO orbit with an EP of grandiose proportions.

Anyone who caught Quelza at Dekmantel Ten last summer will be well aware of the breakthrough producer's affinity for evocative soundscapes — amongst his keen instinct for dancefloor propulsion its his richly rendered atmospheres that have made him such a vital new talent in the industry and club scene. The curious, extraterrestrial quality to his sound is the perfect fit for the resurgent UFO series, and Quelza has more than risen to the occasion with four tracks that take in the widest spectrum of his sound to date.

The title track 'Pensa Poetico' is a dramatic, 11-minute epic that moves beyond dancefloor rigidity into a fractured zone where rhythms splinter and shudder around immersive dub chords pulses and IDM infused rhythms . There might be the anchor of an insistent, staggered kick drum, but it's a simple tool to allow the freedom of movement for intricate layers of steel, glass, ice and dust before the second half erupts in a powerful display of breakbeat science. It's the most adventurous expression from Quelza to date — a track he credits with unblocking his creative process on the path towards a more honest expression within his production.

This spirit of adventure maintains throughout the EP, balancing cathartic compositional shifts with hyper-detailed scene-building and energy shifts that push and pull with your expectations. Quelza's well-established affinity for dancefloor physicality holds true as he twists and turns through these constantly surprising, nail-biting arrangements. Even when everything seems to fall apart, he'll sense the perfect moment to return to a pinpoint groove. Toying with minimal, modernist 2-step and complex organic percussion as well as choppy breaks, this is the sound of Quelza breaking out into a new phase where anything feels possible and his production vocabulary allows him to land audacious moves with mind-blowing finesse.

Harry Wills steps up for MW012. Gritty, raw underground beats from the UK producer, showcasing his ever evolving sound.

Greetings, the producer known for blending captivating electronic sounds with heartfelt storytelling, steps into the spotlight with his debut album, Dance Music For Elsewhere. Featuring original vocals and analog textures, the album is an electrifying journey through love, life, and beyond.

Donald’s House transforms Greetings’ track My Paradise into a dreamy Australiana dub mix, with rolling basslines and echoing M1 keys that transport you straight to the bush. Meanwhile, Romain FX delivers a monumental seven-minute reimagining of the album’s lead single, End of the Night, featuring Naarm-based vocalist Indigo King. This remix captures the essence of dancefloor romance, taking listeners on a journey through the night. This vinyl-only release marks Volume 1 of the Dance Music For Elsewhere remixer series. With limited pressings available, don’t miss your chance to escape into your own paradise.

When Omar J Neri sent us the DAT with a white sticker marked with the date “26 January 1996” and some psychedelic drawings, we were quite astonished. Even more so when we listened to the incredible material inside the tape.

In 1996, Roby J was probably at his best, playing constantly in clubs like Insomnia, Imperiale, and Ashram, as well as Alex Piacciafuochi, the mind and owner of one of the studios (Alex Midi Studio) that defined the Tuscan progressive sound.

At that time, Omar J was a young talent building his reputation around the best clubs in the region. It was a fertile period for him, leading to his first release: "Primitive Pulsar".

Roby and Omar’s distinctive leftfield touch can be heard in these two long, slow-evolving, and structure-changing tracks. Truly two steps ahead and forward-thinking!

Unfortunately, Roby left us too soon in 2014. With Omar’s help, we are extremely honored to continue his important legacy and lucky enough to open their archives. More is yet to come… in loving memory of Roby J.

Lo U is back with four fresh tunes, blending UK garage, breakbeats, and deep electronic textures. The journey begins with 'Transitus', a fusion of UK garage rhythms and a heavy neurofunk bassline. Closing the A-side, 'The Green Planet' delivers a classic 2-step groove with a twisted breakdown. On the B-side, we find a newly refined version of the label's classic 'Platus Karma'. The record ends with 'Eresia', a live-recorded, studio-mixed tune exploring vast electronic landscapes and broken beats.

This Biscuit is built for the bold. Brimming with attitude, four trippy, hard-hitting productions. No filler here - every track a peak time head-turner.

Opening the A-side, we have France’s BOOH, co-founder of BOOOoo! Records. Seamlessly blending rich EBM, techno and electro influences, Hidden Between Two Ferns is an ever-evolving weapon, pulsating with intrigue and intensity.

A2 brings some straight-up electro business from Argentina’s Micro.Tron. Rhythm focused with a dark essence, Microclima Robot hits hard and commands attention.

At B1, the devastatingly epic Then I Dropped It, masterfully delivered by longtime label friend JJ Fortune. Signature sounds from this hugely talented artist.

Closing out this powerful piece of plastic, Vloon steps up with a growling, menacing electro weapon - raw and unrelenting.

As always, this is a strictly plastic affair. No digi release, not ever.

Introducing DJ SO: The Digital Dancehall Alias of Ben Hauke

Celebrated producer and RINSE FM radio host Ben Hauke releases his latest project under the alias DJ SO, delving into the vibrant world of digital dancehall. This new moniker sees Hauke embracing the rhythms and textures of a genre close to his heart, marking an innovative step forward in his already illustrious career.

The debut release from DJ SO comes in the form of a limited edition 7" vinyl, a nod to the golden era of dancehall's physical format. The artwork pays homage to the iconic aesthetics of the legendary label Shocking Vibes, capturing the spirit and visual language of classic dancehall culture.

The 3-track release promises to electrify dancefloors and delight vinyl collectors alike.

As Planka Records continues its relentless pursuit of sonic exploration, delving deeper into the shadows of the underground. PLNK004 showcases a seamless blend of fresh, boundary-pushing talent alongside solid contributions from familiar artists. Together, they craft a soundscape where hypnotic rhythms, ethereal textures, and bold experimentation merge to redefine what we know about the underground.

These tracks transcend the confines of time and place, speaking to the moments where the music wraps around you, drawing you closer into its enigmatic energy. Whether it’s the pulse of the club at midnight or a reflective session in solitude, PLNK004 is a testament to the transformative power of sound.

With this release, Planka reaffirms its commitment to nurturing innovation and pushing the scene forward, always evolving, always underground.

2025 Repress

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.

Whilst being perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.

With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward-delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.

Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.

Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate.

DJ Support: Louie Vega, DJ Sneak, Todd Terry, Phil Weeks

After 3 releases Only Cuts is building a solid following.

For Vol 4 Only Cuts Head Honcho Encee steps up for his debut EP 'Will 2 Move' featuring 4 bumping cuts to move the dancefloors.- For Dj Use Only

Old Soul Records are proud to present Chris’ seminal garage classic ‘Set If Off’, the tune that’s cemented his name as a 2-Step elder. Whilst the reworked version has seen a re-issue on a Pure Garage comp in recent times, this original version is presented here in it’s raw, unfiltered form. If that wasn’t enough it’s backed up with not one but two previously unreleased versions – ‘Set It Off (Bang Mix)’ & ‘Set If Off (Original Dub)’. This package is a testament to Chris’ production and all the tracks sounds as fresh now as when they were first committed to DAT during those heady foundational days.

Always championing forward-thinking projects and sounds, Enzo Siragusa’s FUSE imprint welcomes a special addition to its catalogue as London-based DJ and producer Theo Kottis steps up for his label debut with his ‘Dark At 3PM’ EP. A highly respected figure known for his euphoric productions and magnetic energy behind the decks, Theo’s first appearance on the label marks a fresh moment of synergy, uniting his rich and often nostalgic sound with the signature UK-driven edge of the London imprint.

Known for standout releases on tastemaker labels such as Dekmantel and CWPT – and with performances at iconic venues including Panorama Bar, Lux Fragil and Robert Johnson – Theo brings a decade of craftsmanship into his FUSE debut, diving deep into a world of garage, rave, and bassline, through to cosmic-inspired textures to deliver a vibrant and genre-bending body of work.

Across the EP, Theo presents a kaleidoscope of UK club influences while weaving in his own flair for melody and mood. Opener ‘Dark At 3PM’ kicks things off with warped low-end frequencies and spaced-out atmospherics, merging raw UKG fl avours with celestial flourishes. ‘Forward Motion’ keeps the energy tight and driving with propulsive speed garage rhythms, weighty lows and sharp percussive touches. On the B-side, ‘Glow’ leans into spacey pads and deep, undulating basslines, offering a shimmering mid-release moment. ‘In Search Of’ adds an impactful, introspective dimension with swirling synths, chunky bass, ethereal vocals and breaks-influenced drums, before ‘Strides’ closes the EP on a trip – a deep-diving journey built for late-night sessions.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (250 on black vinyl). New life and an expanded treatment of Quiroga's epic Electronic/Future Jazz/House Snaporaz (Really Swing 2020), from none other than L.U.C.A. (AR029). Archeo delights us with this luscious and limited release featuring Quiroga's sleek jazz-house UFO "Snaporaz". This edition includes an exclusive extended version, a brand-new cut from the Neapolitan groover, and a completely cosmic overhaul from the mighty L.U.C.A. Operating at the nexus of future jazz, beatific electronics and deft house, Quiroga (Walter Del Vecchio to his nearest and dearest) has carved his own irresistible niche over the past two decades, gracing countless labels with nuanced body movers and forging his impressive Really Swing imprint, the original home to this melodic masterpiece. Tucked away on Del Vecchio's 2020 EP "Chords and Desire", the sunny and sultry Snaporaz fell foul of our communal pandemic preoccupation, missing out on the widespread acclaim, appreciation and ass-shaking it so richly deserves. Archeo steps in as patron, giving this Rhodes-led jazz-house heater the full 12" treatment it was born for. On the A1, Quiroga's extends the ecstasy of "Snaporaz", stretching its original elements into a loosely grooving, dopamine-deep delight. Sunkissed keys and tender pads ride the rhythm of a bubbling bassline while the sophisticated percussion snaps, crackles and pops in the background - the perfect environment for the P&P leadline to flourish. If that wasn't enough to have you slipping straight into your party pumps, Walter makes the most of the extra runtime with a HOT hand drum freakout down the final stretch, adding the most enticing icing to an already heady cake. A comparative cooldown follows in A2 offering "Escorpião", a fusion-tinged flirtation for aperitivo everywhere. Cutting back on the kick to save space for the swing, Quiroga leads us through a sublime sequence of hooks, riffs and solos, without ever overwhelming the ears but keeping the groove alive. It's a dizzying delight from start to finish and features one of the finest keytar and cowbell interplays you're likely to hear. The B-side belongs to the frankly legendary Francesco de Bellis, a house, disco, Italo and electro hero, appearing here under his deliciously downbeat alias L.U.C.A. Imbuing Quiroga's original with the atmospheric stylings of his Edizioni Mondo oeuvre, the Roman producer delivers a radical rework, slowing the tempo by 20 bpm and translating those jazzy tones into a drifting new age dancer for the cosmic crowd. Zero gravity rhythms meet mystical melodies uptown as the house hippies get down. Lest we overlook the batshit brilliance of the drum programming, L.U.C.A. caps it off with a bonus beats version sure to delight DJs and dancers alike in its otherworldly oddness.

DJ Support: Peggy Gou, Prospa, Special Request, Annie Mac, DJ Seinfeld, Kolsch.

Pink Vinyl Limited Pressing

One of the biggest, breakbeat channelling stompers out there, courtesy of the in-demand duo Borai and Denham Audio, finally gets an official release with three fiery remixes via Room Two Records. A track that’s ripped through airwaves and club dancefloors alike, ‘Make Me’ has all the hallmarks of a future classic. Doused in Amen breaks, rattling subs, rave stabs and an instantly recognizable mid ‘80s Donna Allen sample. Together the track feels like a long forgotten rave anthem from the ‘90s with its mix of high intensity breaks and soulful vocals.

With the original sample cleared, three producers step up to remix this undeniable anthem. First Sheffield’s Big Ang with her Rave To The Grave remix, playing homage to her hometown with a bassline and bleep flavoured rework. Mani Festo then hits hyperspace with his glitched out, jungle warper, before Paul Sirrell closes out proceedings serving up a huge slice of piano house heat

Music for dancefloors when the night turns uncanny.

Vyvyan is Bonar Bradberry’s solo project stripping club music to its core while expressing a deep love for dance music culture. His 2022 debut album, Y, balanced rough-edged percussion with warped melodies. "Waterslide EP" pushes this sound further with Gallegos stepping in to remix the monumental title track.

Bradberry is also known for his work as one half of the Leeds-based duo PBR Streetgang.

'Stephen Sanchez is a troubadour from Nashville, TN. His breakout single "Until I Found You" is 2x-Platinum and earned him a top 10 T40 radio, top 3 AAA + #1 Billboard Hot Rock and Alternative chart. A star on the rise, Stephen has already garnered 1B+ global streams + nearly 40M ML - his new single "Be More" will launch alongside the pre-order of his debut album Angel Face coming this September!

Repress!

Fresh on the heels of ‘Forgotten Ones’, the jazz-fusion LP from Culross Close, Esencia presents two cuts from K15.
‘Brighter’ is one for the steppers - packed with a weighty bassline, dreamy synths and a sense of wonder throughout. ‘Darker’ is a visceral workout, where off-kilter chords meet drum machines.

The end result? Two tracks made for discerning dancefloors everywhere! 12” vinyl in a white gloss sleeve, complete with full colour sticker.

AJ Christou returns to Crosstown Rebels with his captivating two-tracker, ‘Desire’. Landing on 25th April 2025, the release sees the V-House Sounds boss return following his contribution to the label’s ‘Spirits’ VA series, showcasing his slick and warm sound across two crisp productions. Manchester-based favourite AJ Christou continues his impressive start to 2025 as he steps up for his first full release on Damian Lazarus’ revered Crosstown Rebels imprint with his latest two-track EP, ‘Desire’. An exciting name within the contemporary house landscape, Christou has earned his ever-rising reputation with releases via influential imprints such as Hot Creations, Paradise Music, Cuttin’ Headz and Fools Gold Records - collaborating with renowned names like A-Trak and Robert Owens - as well as his own V-House Sound imprint. Now, with ‘Desire’, the DJ/producer and label boss delivers a refined yet electrifying showcase of his sound, blending rolling grooves and subtle intricacies.Title track ‘Desire’ opens the release with its deep, pulsating basslines, crisp percussion, and a sultry vocal line that lures listeners into its infectious energy. On the flip, ‘Patience’ offers a more subtle yet equally engaging journey, featuring textured soundscapes, dynamic drum arrangements, and a groove-laden core primed for late-night moments. Providing another standout addition to his catalogue, ‘Desire’ marks Christou’s return to Crosstown Rebels in style, further solidifying his position within the global scene.

Liner Notes by Martyn Pepperell

A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.

VITAL SALES POINTS:

In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year Harakami’s debut LP ‘Unrest’ was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as Haruomi Hosono and Ryuichi Sakamoto. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series ‘The Timbre of Guitar’ (the inaugural release of which was ‘Sakura’ - a cover album of Susumu Yokota's seminal album, released through the Swiss label, Mental Groove Records in 2021), she now presents ‘River ???? : The Timbre of Guitar #2 Rei Harakami’. Ayane has reworked some of Harakami’s standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami’s significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light.

In the years that followed Harakami’s untimely passing, Sublime Records continued to sign and support new artists emerging from Japan’s rich and fertile electronic music scene. This eventually led to a meeting with gifted classical guitarist Ayane Shino in 2020. Although a new name within electronica, Shino’s classical resume is impeccable. She has performed with a range of prestigious orchestras in concert halls and at music festivals across Japan, Europe, and South America while playing classical guitar for numerous animations, movies and television commercials and holding various educational roles. These days, she also hosts the Tokyo Harmonics radio show, which is syndicated through Hyogo prefecture’s Ashiya Radio and TJS Radio in Los Angeles.

During her time completing a masters at Tokyo’s University of the Arts, Shino became fascinated by Brian Eno, Aphex Twin, Oneohtrix Point Never, Steve Reich, and, closer to home, Harakami and Susumu Yokota. ”I found myself in an environment where I was surrounded by fellow students who produced computer music, live electronics, and installations,” she explains. Following her meeting with Sublime, Hideoki Amano, the producer and owner of Musicmine, the parent company of the label, asked Shino if she would be open to transcribing and recording an album of covers of the late, great composer, producer and DJ Susumu Yokota’s music in incorporate into then-upcoming events commemorating the 5th anniversary of his death and reissues of his past works. “Yokota made music with the Roland TB-303 bass synthesizer and samplers, not in a way like a conventional instrumentalist, so I was aware it might be more of a challenge for her,” Amano explains. Fittingly, Shino was up for his suggestion, leading to ‘Sakura: The Timbre Of Guitars #1 Susumu Yokota’. Song by song, Sakura highlighted Shino’s free-flowing playing and prowess at translating electronic music into classical guitar shapes.
After considering Harakami’s background as an instrumentalist, Amano felt revisiting his catalogue should be the next step for Shino. Well-versed in how often classical versions of electronic music tend to fall flat, he asked her to examine Harakami’s songs closely, select the musical phrases suitable for guitar and create arrangements that would sound interesting to music listeners with a deep engagement with ambient, techno and electronica. In Harakami’s discography, Shino discovered “a sense of simplicity, warmth, moisture and a floating sensation.” “I was gripped by his songs, which had an array of sounds that gave me a sense of mystery but also coexisted with a sense of familiarity,” she explained. Moving beyond his official releases, Shino began digging through YouTube to find live recordings, radio appearances and obscure outtakes. Within her mind’s eye, imagining playing his songs on guitar was effortless. On her approach to the album, Ayane explains: “For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.” A record of limitless innate beauty, ‘River ???? : The Timbre of Guitar #2 Rei Harakami’ is a delicate and thoughtful body of work. A true masterclass in deconstruction and subsequent rebuilding, and an eternal lesson in how the art that we leave behind can outlive us all.

Hot on the heels of previous explorations of Hindustani, East Bloc, pan-Asian, and Brazilian cultural touchstones, Toofli now pays homage to the vocal eroticism that beats at the heart of French pop music. The fourth faceless wizards once again bring their magical touch to uncharted musical territory, employing a precise process of cuts and edits in service of Toofli's groove agenda.
A half-step beat glides through haunting atmospheres and hard-driven hypnotic rhythms, offering a fresh perspective on the iconic 'Voyage' in the opening piece. The great French pop diva aesthetic continues to evolve in the second track, now taking on an ultra-chill mood with funky minimalism and late-night soul melancholia. The unexpected twist on the flip side blends breakbeat science with gentle digitalia, creating a unique mix perfect for the most sophisticated dancefloors. Kraftwerk's pioneering hymn "Tour de France" is reimagined with tough electro production, while retaining the essence of the monumental original.

Introducing Griffith’s debut release, "Nineteen EP" by Romanian artist Mihai Pol. Known for his instinctive approach to groove and atmosphere, Mihai crafts music that feels organic and immersive, drawing subtle influence from the world around him.

At the heart of the release is "Nineteen", a long-awaited gem produced in 2020. Defined by a hypnotic groove and a striking synth that almost sings like a human voice, the track has become one of Mihai’s most anticipated cuts, impossible to forget once heard. Alongside it, three equally refined productions complete the EP, each carrying his signature rolling energy and deep, immersive flow.

A great first step for Griffith, with plenty more to come.

Dreamlogicc's a hard producer to second guess and he shows why with this latest outing on Sub Terrain. It explores everything from high-tempo and half-time to jungle, footwork and more. There is a real swagger and menace to the opener 'Finite Resource', 'Take It And Break It' then brings minimal drum & bass and caustic synth textures, 'Thyme To Goa To Bed' is a piano happy jungle workout, 'Dos Equitus' slows things down to smeared synth ambience and half-time steppers, more wobbly low ends come on 'Dox Equitus' and there is some manic IDM on 'Uncredited.' This one is mad limited so do not sleep as it won't be around long.

It is a groove-infused journey designed for those who thrive on the pulse of the dance floor. This slinky, high-energy compilation from NOREPRESS brings together the driving rhythms of Giacomo Silvestri - Paradox, Andrea Giuliani - Hypnagogic, Kirill Matveev & Wiklauri - Fasol, and Nicolas Barnes - Lift It, each track crafted to keep bodies moving and minds locked in.

The essence of this release lies in its intricate drum progressions—tight, rolling, and infectious—laying the perfect foundation for deep, bouncing grooves and hypnotic acid elements to work their magic. The energy flows effortlessly, creating that perfect in-the-moment feeling where time dissolves, and only the rhythm remains.

Whether it’s warming up the room or taking things deeper into the night, NRP004 is made to move a crowd. Packed with room-filling beats and an irresistible momentum, this one is all about embracing the moment, locking into the groove, and stepping into 2025 with pure dance floor delight.

NOREPRESS is a division of MixCult Records

Limited to 1000, individually numbered copies. Eight tracks for the first time on LP vinyl from The Diplomats Of Soul featuring an all star cast of UK singers and musicians produced by Bluey from Incognito. Vocalists are Natalie Duncan, Vanessa Haynes, Imaani, Valentina Silwimba, Cherri V and the late Noel McKoy on an array of recordings from 2006 to 2024. The songs range from covers of rare groove, two step and soul classics to one original. Six songs original mixes, plus remixes by Atjazz and Yam Who?

Unknown DJ & producer steps up for the first in a brand-new edit series featuring four killer cuts that are sure to get any dancefloor moving!

Nadia Struiwigh returns to Blueprint for her second EP "The X1 Shift EP is more than a collection of tracks; it's a story, a refl ection of the shifts I've embraced, and the identity I'm uncovering at my core. I've always felt that music is storytelling, not boxes to be labelled. Whether through ambient textures, techno grooves, or experimental soundscapes, each genre represents a chapter in a bigger story.


The magic lies in weaving them together into something timeless and deeply resonant-much like the origins of electronic music. For me, the essence of being an artist is freedom-creating without limits and exploring the beauty of the unexpected.

This EP represents thatfreedom: the love of pushing boundaries, the courage to evolve, and the joy of stepping into the unknown. Every sound on X1 Shift is intentional, every transition meaningful, yet there's also room for spontaneity.
Technically, the EP features the tools and hardware that inspire me: the Korg Electribe (my heart), Yamaha DX200, NI Maschine+, Arturia Minifreak, and plugins from NI and Plugin Alliance.
These tools became the palette for painting this journey.

Thank you, James, for supporting this music and giving it a second round. Your belief in this, especially something a little out of the box, means the world to me!!
Here's to breaking free, telling stories, and creating from the heart.

Portland's finest practitioners of Great Black Music offering to the planet! All Is Sound could not be a more apt title for this. Through saxophone, cello, piano, and flutes The Cosmic Tones Research Trio created a truly beautiful record. All Is Sound breaks new ground. At its heart, it's healing/meditation music, but the Gospel and Blues roots are in there too...as well as hints of forward-looking Spiritual jazz.

As sincere a record as you could ever hope for. Music is indeed the healing force of the universe. Formed by alto sax player and composer Roman Norfleet, cellist and multi-instrumentalist Harlan Silverman, and pianist Kennedy Verrett—who also plays a wide variety of wind instruments—, The Cosmic Tones Research Trio focuses on healing music. In All is Sound, delicate, profound melodies create peaceful, immersive soundscapes, which the group develops through their combined background in acoustic ecology, sound meditation, mindfulness, and active community involvement.

A noteworthy follow up to Norfleet’s first length with Mississippi Records (the self-titled Roman Norfleet and Be Present Art Group, from 2023), All is Sound offers the chance to engage with songs intended for healing. Following the steps of musicians such as Sun Ra, Alice Coltrane, and Pharoah Sanders, The Cosmic Tones Research Trio delivers music that is both restorative and sonically rich—each tone falling into perfect place, as if by magic. Praise for Roman Norfleet and Be Present Art Group: “A free-flowing suite.” — The Quietus // “Life-affirming music.

CASABLANCA first started as a party exploring the depths of Arabic grooves from Northern Africa and the Middle East, brought to life by two musical legends...Parisian digger Victor Kiswell, known for his journey through the world’s rarest records and influential NTS radio sets, and Dez Andrés, a Detroit native whose roots in the city's hip-hop and house scene are matched by his love for soul, fun, and jazz. The two artists have stepped into the studio to bring the same energy and ethos from their party to this album.

Side A’s “Intergalactic Love Song” by the Diddys & featuring Paige Douglas is a vocal version of the Charles Earland's instrumental classic (who also produced the track) & is a disco-tinge jazz-funk groover that you will want in your bag. It glides across the dancefllor with a breezy ease & pulls you in.

B. side
On the flip, we have“Searching The Circle” by Barbara & Ernie from the classic psyche-folk soul album “Prelude To …” (Ctollion - SD 9044), produced by Joel Thorn. It’s a wonderfully weird little record that has a sound that's unlike anything else I can think of.

This trippy early-70s folk-jazz-soul nugget featured here from guitarist Ernie Calabria & singer/keyboardist Barbara Massey (back-up for Cat Stevens, amongst others). Arrangements are by the pair, but Deodato also had a hand in the record too along w/ Grady Tate on drums, Ralph McDonald on percussion, & Sam Brown on guitar.

It holds a righteous groove undercurrent that recalls Richard Evans or Charles Stepney. Massey’s vocals have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! Completely