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Kerri Chandler returns to his own Kaoz Theory with Vol.3 of his archive focused ‘Lost & Found’ series.

Kerri Chandler and his Kaoz Theory imprint continues to move from strength to strength still after decades at the forefront of House music. In this ‘Lost & Found’ series, Chandler dives back into his vault to unearth forgotten gems and bring them into the limelight today. For this release, Kerri also revisits ‘Let It’ from his recent ‘Spaces and Places’ LP, reworking it with a new vocalist this time round, namely AbbieLee.

Kicking things off is new version of Let It (Give Me Back My Love), laid out across six minutes, employing shimmering Rhodes melodies, fluttering arpeggios, a bumpy bass groove and crisp drums intertwined with AbbieLee’s soulful vocal stylings. ‘Another Dawn (Vocal Mix)’ follows with jazzy, bruk-tinged drums, uplifting piano chords and pulsating subs running alongside enchanting vocal lines,On the flip-side, Kerri dives into more underground basement realms with the murky basstones, shuffled dusty drums and expansive reverberations of ‘The Bassline (Kerri’s DarkMix). ‘The Breeze’ then rounds out the EP with an electro tinged 808 jam, utilising the machines classic cowbell chimes, skippy snares, rumbling toms and thunderous kicks.

Our very own Sweat Sampler has landed and Vol. 1 kicks things off with four exceptionally Sweaty bops. Firstly, GRAMMY award-winning producer CID joins forces with Italian DJ duo Havoc & Lawn for an epic rework of America's 1972 hit 'A Horse With No Name'. Followed by ‘Come Out’, a product of the new project Saturday Love from Fiorious and Boston’s Kon, fresh off The Vision’s instant-classic Defected LP and 9 million streaming anthem ‘Heaven’. Flip the vinyl and you’ll then find the mastermind who seamlessly combines the underground with a house twist, Marco Lys, as he teams up with Sweat homestay Ben Miller for the funky crowd-pleaser ‘Give It To Me’. Top it off with one of Australia’s most adored dance acts, with over 100 million streams, Platinum and Gold plaques and numerous triple j ‘most played’ hits, Set Mo gives us the feel-good ‘Could I Be’.

What I Breathe is the debut album from Mall Grab AKA Jordon Alexander. The Australia-born London-based powerhouse reaches within to create the most comprehensive demonstration of his style to date – loudly defining the raw energy that has become synonymous with the moniker.

“This album is deeply personal and an exploration of all influences, sounds and sides of the Mall Grab project. It follows my journey of the last 6 years from a university dropout in Newcastle (Australia), making music as a source of happiness and expression.”
While glances of what Jordon gravitates towards in dance music can be heard in the record label imprints he steers—Looking For Trouble and Steel City Dance Discs—it's with What I Breathe that he elaborates on and articulates his diverse ear for music. Through collaborations with Brendan Yates of Turnstile, Novelist, D Double E and Nia Archives, the Mall Grab repertoire of emotive electronics is used to traverse his love of hard-to-define energies that exist between genres like Hardcore, Hip-Hop and Soul.
“I have been lucky enough to work with some of my favourite artists which have really been the glue that keeps the project coherent. There are a lot of familiar sounds on this album that my listeners and followers have become accustomed to and joined me in the deep dive. Elements of emotional but hard and pumping club music are intertwined with House, Jungle, Rave and Grime. My adopted home city of London has been a huge inspiration to how my music has evolved and progressed, and on What I Breathe I wanted to create a body of work which not only had something for everyone who has been with me the past 6 years, but also those who aren’t yet aware of what I’m about or the music I make.”
Jordon’s long-standing penchant for all things DIY blossoms in tracks like Lost In Harajuku and Without The Sun which feature his own original lyrics and vocals. As the album twists and weaves from one song to the next, gleaming melodies flare up into club-ready anthems such as Metaphysical and Breathing. The kinetic flow of the music as a whole can be attributed to the many years of cutting his teeth as a DJ, a skill that can be testified by anyone who has witnessed a Mall Grab set.

“As I was a DJ for many years before I delved into producing electronic music, I had a wide appreciation and love for all types of music, predominantly gravitating towards ‘band' music when creating my own projects, before evolving into a fully-fledged electronic producer – however always retaining the influence and love for all things live and genre-fluid.”

Even with a stack of very well-received projects already under his belt, What I Breathe can be seen as the first deep breath in and a fierce declaration of what’s to come for Mall Grab.

“I’m grateful for everything and everyone in my life, those I love and those who support my music, through all the ups and downs. I live and breathe this shit. I cannot do anything else. I will continue until there is nothing left for me to say.”

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

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

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

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

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

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

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

repressed !

20 year old Utrecht based producer Julian Alexander steps up for the next release in Infuse with a ep of raw house grooves.
Sweet Rain kicks things off, its deeply rounded bass and swung percussion imbuing the track with a real sense of groove.
Cabin Fever continues the vibe whilst Present brings a sense of warmth, an undulating pad lending the track a more blissed out feel whilst Straight furrows a tougher path with a dirtier warehouse kick and metallic percussion.

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

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

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

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

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

For the latest edition on Humanoid Recordings, co-founder 4D hits with a 4-tracker made for the dancefloor.

'Stupidity' starts with intention with ethereal driving tech house, reminiscent of the wiggle/end recordings golden days. 'Quantum Theory' follows in style with a relentless bassline, layered with satisfying arpeggios and naughty synth lines

'World in our Head' picks up the pace with an interweaving, high energy attack perfect for the peak time before 'Sowie Lockers' closes the EP - a euphoric after hours delight with bright pads and playful melodies, rounding things off in a tasty fashion.

Sacred Record is a 9-track album of ethereal and introspective tracks, filled with almost pop-like hooks balanced out with all-in rhythms, heavenly pads & addicting diagonal melodies.

Where media degrades and replaces positive imagination, and destroys the ability to think healing thoughts, Sacred Record encourages the opposite. Hijacking the dark nihilism of contemporary art & music, listeners are called to cease indulging in despair, and stop being tricked into seeking eternal fulfillment in worldly things which die. Screens foist convoluted worldviews upon us, depriving us of our natural agency by casting illusory perceptions of a net-negative reality over our actual, tangible lives. Ando Laj’s Sacred Record takes your hand and walks with you, side-by-side, gently, deeper in, but further u

Over the past decade Rising Sun has firmly established himself as a purveyor of the finest deep, dubby and cinematic leaning house and techno, consistently delivering a sound that is distinctly his through labels such as Fauxpas, Freund Der Familie and his own numerous imprints Reality Used To Be A Friend Of Mine, Kristofferson Kristofferson and Beautiful Things Don't Ask For Attention under a variant of guises such as The Ambientist, Rising Sun Project, Rising Sun Psyche, Rising Sun Melancholia and simply Rising Sun under which he returns here for Echocord. As one has come to expect from a Rising Sun release ‘The Eternal’ has a firm foundation in emotive melodies and atmospherics across six alternate versions. ‘Eternal 1’ leads with muted drums, fluttering stabs and a preaching spoken word vocal. ‘Eternal 2’ edges into darked realms, merging expansive dub echoes with swelling subs and tension building strings before ‘Eternal 3’ dives head first into ethereal hypnotism via unfurling textures, soft stab sequences and a rounded kick. ‘Eternal 4’ opens the B-side with a subtly unfolding construction as vocals, chords and swinging drums run in unison. ‘Eternal 5’ then strips things back to a gritty statured feel with boomy percussion, enchanting strings and nuanced stabs before ‘Eternal 6’ rounds out the release laying down murky, multilayered pads, widely dispersing reverberations and bubbling delays throughout.

Re-Press of Original Pirate Material on a burnt orange vinyl
- The 25th March 2022 marks the 20th anniversary of the instant British classic Original Pirate Material - The Streets.
- For the PR approach for this anniversary label are working with zeitgeist creatives: Sabotage Studios and photographer Isaac Lamb. Sabotage Studios will connect the creative anniversary projects with with cool, veritable influencers and magazines in an authentic way. Aiming for an editorial around the anniversary projects with: The Face, Vice, 10 Magazine, HERO, Noisy Wonderland and Hunger.

- Hugely popular and influential designer Corbyn Shaw, who focus on archetypes of British Culture is creating a Original Pirate material tribute piece of work for the OPM anniversary:
- Minnow Films and comedian James Acaster to create a short documentary around the for the OPM Anniversary. Talking to BBC, Amazon and smaller publications like Vice and Noisy to promote this.

Hailing from Kaliningrad x Berlin, new vinyl only label Garderobe, heralded by Malish, launches the first EP release. Limited to 250x copies

Keeping things edgy, deep, and minimal this 3 track release from Bilalov colors darker shades of house and techno for dancers and party people who are seemingly never ready to go home.

Also included in this release is a remix from prolific minimalist dj and producer Alci who delivers a superb remix that keeps the groove within respectable norms of avant-garde minimal for the audiophiles and chin strokers alike.

A genuine gem for any dj’s record bag or crate diggers collection. Honest, pure, and full of integrity this first release sets the tone for things to come and is sure to hit all the right spots during different hours of the party!

This is it. Poly dance theatre 006 arrives. Fresh arrival. For the 6th POLY DANCE THEATRE release, androo has decided to release exclusive dubplates from NS Kroo sound system (androo & baba). Yes. 2 tracks from the smoky, always intense and sometimes very special sessions of the NS Kroo sound system over the last 10 years. Exxxperienceee. Wave Dub style is a blend of synth wave, dub stepper and club elements. A side: Fast Dub, tribute to Kitachi, (Iration steppas). Indeed, NS Kroo didn't wait for the recent re-issues to play Kitachi tracks, and has been inspired by this vibe from the outset. Club meets Dub! Fast Dub is trance, it's raw, it's sporty, it's for the legs, it's good support (aducteurs), it's for nimble feet, it's a book whose last sentence ends on the first, it's repetition, it's different style, it's dance, it's wild, it's club rhythm, it's baba operator, it's androo selector, it's sound system vibes, it's NS Kroo in 2019, it's a discreet, slightly punkish non-chalance, it's distortion, it's "we don't give a fuck about codes", it's that and lots of other things... B side: Wave Dub Style Is Back. It's all in the title. This track is probably from 2014? Wave dub... A mix of new wave/synth pop and dub, with a club mix feel. Again, trance music, the kind you play when the night never ends to end, an epic end-of-session odyssey. Soft and strange synth with strong 808 rhythm. 2 mixes. 1st mix: pop synth experience. 2nd mix: raw trance club mix. Wave Dub Style Is Back was remastered by androo in 2023 with the support of poly dance theatre compagnie.

An interesting insight into some of the diverse dancefloor oriented sounds going on in Canada during the 80s sitting somewhere between electro, italo disco and proto house. A-side starts off on a slow paced 80 bpm pop/rock italo-disco crossover track featuring lyrics in english with an unidentifiable accent, very much reminiscent of Italian local neighbourhood private press ventures featuring someone's sister on the vocal. 3 versions later, on the B side, things step up a notch coming in at 130 bpm with "Heat In Africa's" drum machine propelled rhythmic mayhem pulling out all the latest studio bells and whistles of the time. Big electric guitar solo build up on the "Dance Mix" and additional Bonus Beats mix by Castro. Remastered and officially re-released almost 4 decades later.

We are very proud to present the label Solitar. Coming out of Stockholm/Sweden, a place with a long line of significant and well respected techno labels, we start things off small and considered. We hope it is a humble beginning of something that will grow into its own over the coming years.

To make this launch as special as possible the label head himself, Lakej (Filip Strom), is behind this powerful solo EP. Delivering on this 12" four razor sharp dance floor tools accompanied by a very moody ambient outro trip.

Enjoy!

Group is a project with its own sound and a gradually expanding style, and Seedman perfectly reflects these attributes. With 160925_1145, the first cut on side A, the ritualism he has previously exhibited on other albums such as Esoteric Free Afrika, or more recently with Broken Faces, is somewhat apparent, due to the slow cadence, steady rhythm and tribal arguments. 160205_1066 is created from another perspective, however, it is not what it seems because from the first bars there is a syncopated and constant rhythmic pattern that places you in an industrial scenario, and gradually a simple two-tone melody appears that completely changes its initial musical context. 170218_1475 moves between an industrial and dark ambient concept, as it mixes gloomy atmospheres with deep breaks.

The sonic properties of 160131_0683, the cut that opens the B-side, connect with an unexplored environment, with a new, recently discovered and inhospitable scenario, since among other things we can appreciate sounds of machines, radio signals, filtered and choppy voices, combined with disturbing acoustic phenomena. 170213_1455 is a track that describes quite concisely the creative sense of Group, and for this we must take into account that it could be catalogued as a techno production, with groove and aimed at the dancefloor, however, he manages to minimise all these factors by giving it a volatile and atmospheric aspect. 170105_1398 closes the B-side of the vinyl, returning once again to the tribalism and ritualism that characterises many of Group’s productions, given that on this occasion his rhythm is not diluted, it has much more presence and manages to generate a hypnotic state.

In addition to these six tracks that make up the entire vinyl tracklist, Seedman also presents a couple of bonus tracks in digital format. And the first of them, The beast11, already arouses curiosity because its title is not due to a sequence of numbers, as is usual in this project. Musically, it once again shows Group’s ability to adapt any environment to a sonic degradation very much in keeping with his style. 150407_0166, the last track on the album, is an ode to chaos, a hodgepodge of frequencies devoid of rhythm that appropriately serves as an outro.

Warehouse find!

Infuse return for their first release of 2017 with a fresh new look and talent in the shape of Jack Wickham, who provides a VINYL ONLY 4 tracker of dance floor goodness.
'Exchange' kicks things off with a perky tech houser with an emphasis on groove whilst 'Kotone' delves deeper.
'Cos' keeps the energy high with a kinetic slice of tech-funk and 'Brick' rounds things off nicely with a brisk & sprightly romp.

Gratts is back once again, hot on the heels of various Balearic outings like 'Sun Circles', 'Pretty Lights' and 'Jour De Fete' but this time he is in house mode. This release comes under his new Trackhead T moniker and finds him keeping things raw and stripped back. For the sessions, the Belgian artist limited himself to using inly around 12 channels maximum per tune. This Klub Romance EP is the result and a track that harks back to his Berlin stomping ground, with deep but driving house cuts that have subtle hints of everyone from Felix Da Housecat to Boo Williams. The low slung sleaze and muted rave stabs of 'My Miseducation' is our standout.

Issued on his crescive Afroterraneo imprint, Kiko Navarro reunites with longtime collaborator and friend, Latin-Grammy award winning vocalist Buika, for new single ‘El Silencio’.

First meeting back in 1997 on their native island of Mallorca, Navarro and Buika most recently worked together for the heart-rending Latin House song ‘Lo Siento’, one of the highlights of Navarro’s 2017 album ‘Everything Happens For a Reason’, as well the 2006’s ‘Soñando Contigo’ on Pacha Recordings, which remains an enduring classic.

Originally written in 2010 but never released at that time, ‘El Silencio’ comes complete with a brand new club version, for which Buika has recorded fresh vocals. When the pair returned to the studio in September 2023, it was as if they’d never been apart. “It was like the time didn’t really pass” says Kiko. “We have this connection that doesn’t go anywhere. We know each other so well, and we know what we want. Working with her has brought me many good things, and I’m so excited to share the new music we’ve made together with the World.”

‘El Silencio’ (‘The Silence’) is a slinky, mid tempo groover with subtle jazz-funk touches, accompanying a universal song about love. “It’s about a couple who have loved each other through hard times, and a desire to be together still. There’s a message of hope here, saying ‘let’s try’. No drama, no anger, just love” says Kiko.