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Suburban Architecture are pleased to announce the fourth in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), #002 (featuring Blame and DJ Trace), and #003 (featuring Nookie and DJ Crystl), edition #004 enlists two further legendary names to put their stamp on the duo's material.

Ray Keith is a DJ and producer who requires little introduction. From his beginnings in the Acid House scene of the late 80s through to the present day via Hardcore and, of course, Jungle, Ray's output has been a steady presence in UK dance music for over 3 decades. From manning the counters of legendary record stores including London's infamous Black Market Records to masterminding bonafide dancefloor hits such as 'Terrorist' and 'Dark Soldier', Ray has touched every corner of the scene. For this remix, Ray brings some of his trademark Dread flavour to 'The Drifter' injecting some tough Amen and Bassline energy to the track.

DJ Harmony is another DJ who cut his teeth behind the counters of some of the scene's pivotal record stores, having worked in Lucky Spin and Section 5, while releasing music on some of the most important imprints in the genre, notably including Moving Shadow. Today Harmony is best known as the driving force behind the brilliant Deep Jungle imprint which delivers classic, new and unreleased music from Jungle's heaviest hitters. Recent releases have come from names including Adam F, Dilinja, DJ Trace and, naturally, Harmony himself. Harmony's remix of 'The Believer' takes cues from classic Jungle with a half time break down, giving way to a smashing Amen workout accompanied by the rousing vocal refrain of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

In the flow of the success of their first vinyl record, MEUK Collective releases their new EP Tijdloos. A killer 4-tracker solo album by Denn Punk this time. The title of this EP refers to the timeless sound of old school techno that MEUK stands for. And all four tracks are full of Denn's signature sound, with reverse kicks, groovy drum fills and creatve filter effects. If you're into the hard groovy techno, you don't want to miss this one.

Transcendental outernational funk and psychedelic jazz from mystery L.A.- based collective Sun Atlas

2nd edition with alternative sleeve and label design.

Little is known about Sun Atlas. The group members are hidden behind masks and costumes to keep their identities secret and to put the focus entirely on the music and oneness. A sense of community and universal spirit as an alternative to idolization and individualism is heavily reflected in their eclectic musical style.

The sound of Sun Atlas is mystical and cosmopolitan, combining afrobeat, cinematic soul, spiritual & ethio jazz with space sounds, hiphop-breaks and a garage funk vibe.

Their cryptic first 45 single "The Mystic Parade" b/w "Grand Theft" sold out immediately after release and has often been mistaken for either "lost" hiphop samples, 70s habibi funk or another project in disguise from the inner circles of the Mocambo, Big Crown or Daptonefamilies (which it is not).

Return To The Spirit picks up where Sun Atlas' first single leftoff, with everyone wondering where the journey might lead. With the door to a colourful universe opened, the full-length format gives time & space for further exploration.

Two years after her debut on SPFDJ's Intrepid Skin, Valerie Ace is already counted as a quickly rising voice in techno, her work featuring on Anetha's Mama Told Ya, Mala Adh, Haven, and more. In 2023 she founded her own Hardwon imprint, now on its 8th release and featuring established and upcoming names like Ryan James Ford, WTCHCRFT, and others. Now Rant & Rave offers her third vinyl full EP, Givers & Takers, confirming her premier place in contemporary techno. The title track starts ominous, pensively drawing tension over a slow breakbeat as busy percussion patterns interlock, leading into its intense second half, where heavy bass doubles down and pushes to a bruising climax. 'Eat Dirt' takes after its title, grinding faces into grit as it switches between breaks and straight sections while pounding the floor into submission. 'A Moment Lost' loses no time charging out of the gates, ratcheting tension with quickly evolving snares, the filtered bass punches driving the track over steadier, atmospheric background sounds. The afternoon or afterhours vibe of '3PM' is accentuated by seasick synth layers contrasted against malignant drums, unsure if the drugs are wearing off or kicking back in for another trip.

“On the Move” is a tune originally released on a very rare 7” in the mid 70ts and became the title track of the BOBBY BYRD album in the year 1993 when the Godfather’s Godfather, at least Soulbrother # 1, as Fred Wesley calls him, probably the most warm-hearted and soulful gentleman on Planet Funk, was sitting in the living room/office of his back then, brand new label Soulciety Records in Hamburg, Germany, listening to some of his old 7” singles. When Soulciety released the studio album “On the Move (I Can’t Get Enough)” in 1994, the album became a somewhat hoped for, but still unexpected success. Rare Groove-enthusiasts the world over, who knew about Bobby’s songs as well as the ones he wrote with James Brown (e.g.: “Sex Machine”), plus all the Hip Hop-fans who dug him from the countless times his songs had been sampled (Eric B. & Rakim used almost all of Bobby’s version for their hit “I Know You Got Soul”), loved these fresh but original sounding recordings. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl, including the never released instrumental version on the flip side.

Critics have described Czech pianist Kristina Barta as "fiery, expressive, eloquent, and stubborn." This new album, "Endless Questions and Answers," features nine original compositions created for her new quartet, in collaboration with the world-renowned tenor saxophonist Jure Pukl. It signifies a fresh chapter in Barta's musical evolution.

The album was created in two versions - a limited "color in color", of which 100 numbered pieces were produced, and a classic version with black wax, of which 200 pieces were produced.

After 10 years, Kixnare returns to U Know Me Records with his fourth original album. "Asteria" is a step towards even more experimental and abstract corners of electronic music. Each of the seven songs on the album reveals a fascination with completely different musical areas - from dark ambient ("Plaga"), through oriental ("Mystic Journeyman") / dubbing downtempo ("Impass") to stronger acid ("Mutacja") and techno ( "Omnis"). What connects everything is a constant atmosphere of anxiety - a reflection of the times we live in. Despite a completely different musical climate, "Asteria" refers in its character to Kixnare's last album "Rotations" from 2014, continuing the concept of inter-genre collage. All this comes together in the weekly radio show "Rotations", in which Kixnare presents his recommendations from the world of underground and experimental electronics on Radio Kraków.

"Asteria" is an album consisting of seven songs - almost 38 minutes of an amazing journey, the sound of which was worked on by the legendary Stefan Betke from Berlin (mastering author). The cover is the work of the flawless Animisiewasz.

This is part of an ongoing 45 series that also features Westside Gunn, Raekwon, Blu, Conway The Machine, DJ Babu, Curren$y, and others. This 7" single will set the table for Rude One's official follow-up, Upper Space, which will release physically and digitally on October 11th. The album contains a new single with Roc Marciano as well as songs with Valee, RXK Nephew, Pink Siifu, Stove God Cooks, The Twilite Tone, and more. DJ Rude One's ONEderful LP was released in 2016 and earned praise from Pitchfork (6.9), HipHopDX, XXL, Noisey, Fakeshoredrive, and others. It featured Conway, Your Old Droog, Westside Gunn, and Roc Marciano, all of whom are at the top of the Underground Hip Hop food chain. "His rasping voice is suited for Rude One’s gritty sound. Almost everything here is sonically consistent, with rapper and producer perfectly in sync." - Pitchfork. Full color jacket 7". Roc Marciano is hailed as a leader in Hip Hop's current underground renaissance. The smooth rapper and producer has his fingerprints all over the scene, and regularly receives praise from critics and his established peers. In 2016, Roc lent his services to DJ Rude One's ahead of its time LP, ONEderful. Together, the two crafted stand out cuts such as "Triple Black Benz" and "Murder Paragraphs", the latter of which is the latest installment of Closed Sessions limited 7" series. "Murder Paragraphs" is Roc Marciano at his finest and showcases DJ Rude One's signature less-is-more, grimy sound. This 7" contains the original and instrumental version, new artwork by Spectacular Diagnostics, and follows previous entries from Raekwon, Blu, WestSide Gunn, Conway, Open Mike Eagle, and more. This pressing is limited to 500 copies, and will also set the table for DJ Rude One's forthcoming LP, Upper Space, which will feature Stove God Cooks, Valee, RXK Nephew, and of course a new collaboration with Roc Marciano.

Following their 2020 collaboration on "Real Bad Boldy", prolific Detroit rapper Boldy James and LA producer Real Bad Man are back at it with their new album "Killing Nothing". Picking up right where they left off, the two are creating a music score to a gritty, grimy and filthy street tale, recruiting accomplices CRIMEAPPLE, Knowledge The Pirate, Rome Streetz, and Stove God Cook to add further depth and diversity to the album's sonic landscape. Each guest artist brings their own unique style and perspective to their respective tracks, enhancing the album's richness and variety.

The collaborative masterpiece between rapper Boldy James and producer Real Bad Man blends gritty lyricism with innovative production. Boldy James, known for his intricate storytelling and vivid street narratives, brings his raw authenticity to every track, painting vivid pictures of urban life and survival. Real Bad Man's production style, characterized by its eclectic mix of boom-bap beats, soulful samples, and experimental soundscapes, provides the perfect backdrop for Boldy's wordplay.

Following their ground breaking "Wet Dirt" album from 2019, CRIMEAPPLE and DJ Skizz are back to take you on a worldwide flight starting off in Hradec, Czech Republic. The New Jersey rapper and Brooklyn producer step up their game once again on this new offering, with CRIMEAPPLE solidifying yet one more time his position as one of the best lyricist out there, painting perfect pictures all by himself over Skizz's top-tier productions, with an extra soulful and vintage touch added to it. Fasten your seat belts as this one is yet another classic to listen up above the clouds!

We are happy to continue our series of Electric Bird reissues in collaboration with King Record with the a killer jazz-funk release, saxophonist Toshiyuki Honda's "Burnin' Waves", originally released in 1978. Son of jazz critic Toshiyuki Honda, the Japanese composer was a skillful flute and saxophone player, and in the 70's he worked with George Otsuka and the Burning Waves ensemble. In the 1980s he worked with Chick Corea, Tatsuya Takahashi, and Kazumi Watanabe, lead his own ensemble, Super Quartet as well as being a member of the ensemble Native Son. His 1978 debut album "Burnin' Waves" boasts with hectic saxophone explorations over funky bass and happy keyboards, making it one of the grooviest releases of the Electric Bird catalog, now available on vinyl again for the first time!

Going solo while still keeping intact his devotion to RS Produções, Nuno appears as a true heartbreaker. Silky, space soul, why not even risk the patented future r&b? But this music exists and manifests itself apart from the established production centres, the golden arches of hype edifices and synthetic promotion regurgitated by a thousand cloned fingers. "Sai Do Coração" is a very brave, romantic improbability, shying away from DJ bravado and dancefloor top speed. Through these grooves comes a pure distillation of love, an alchemical sublimatio resulting in the much sought-after "higher substance", a bright globe issuing rays of affection all around.

With love we most likely also buy into a degree of suffering, and though this is not at all the ID of the album, Nuno explicitly connects the two sentiments in "N'Dengue", a cathartic cold cut one grows to cherish intensely by the time it is over. It's a key moment, grief pours out, liberation achieved in the dance - "I will love, I will suffer, I will shout, I will dance". Flip to the other side for "Confusão No Ghetto", another gritty expression, a richly percussive, slow tempo observation of things gone wrong. All the rest in the album feels simple, direct and yet sophisticated like photosynthesis. Like the soil, through which geological becomes biological. Nuno whips up a variety of textures and flavours into the invisible form of Music, romantic fiction into action.

BOBBY ROBINSON was more than a fixture in hisNew York community, he had been an essential part of its lifeblood for over 60 years. Had he just been the proprietor of the first record store (and reputedly the first black-owned business) on 125th Street, he would have been important enough, but he also had an ear for talent, recording landmark music across four decades, always at home with the music of his neighbourhood, be it doo-wop, R&B, soul or even rap.

He was an entrepreneur involved in over a dozen different labels, sometimes on his own, sometimes with a partner, often with his brother Danny, and he was behind records that became internationally famous by Gladys Knight, King Curtis, Elmore James, Lee Dorsey, Wilbert Harrison and Grandmaster Flash. He made many more that were simply good, and this compilation takes aim at the great work he did as a soul and R&B producer during the 1960s and early 70s. It’s an introduction that shows the quality that he created had depth beyond the headline names.

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

LIMITED REPRINT .Introductions by David Fricke and Adrian Shaughnessy. 224 pages, comes in a tactile Geltex hardcover and is beautifully designed by Hiorthøy. Includes a 7" single with exclusive tracks from Fire! Orchestra, The Last Hurrah!! and Maja S. K. Ratkje. It´s no secret that Rune Grammofon founder Rune Kristoffersen is a big admirer of labels like Blue Note, Impulse, ECM, 4AD and Factory, to mention some labels with strong visual identities. But we can´t recall another label that has worked with one designer exclusively for 25 years and some 250 releases. A singular visual language that's as distinctive as Hipgnosis' 1970s surreal juxtapositions, or the brooding portraiture gracing ECM Records' output. Prog (UK) As well as being a piece of guaranteed coffee table eye-candy for music lovers, the book promises an insight into the fascinating process of bringing a record and its cover to life. Creative Review (UK) RG feels like a dream vision of a record label - fuelled by passion, irreverent in tone yet serious in execution, somehow miraculously buffered from corporate industry expectations. The sound and visuals here cover two decades of inspiration and unpredictability, but they also bristle with creative possibilities for a long time to come.Elephant (UK)

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

Introducing a limited edition of Eyedress's 2018 album, "Sensitive G", pressed on transparent lime green, with only 1000 copies available worldwide.

Efficient Space welcomes Th Blisks to the fold with their mutant strain of melodica dub, torched hip hop breaks, post-punk and procession song.

Th Blisks' members have many notches on their collective belt. Amelia Besseny and Altered States Tapes’ founder Cooper Bowman are prolific in their ritualistic ambient-pop duo Troth, while Yuta Matsumura holds a formidable Sydney punk band pedigree on top of his Low Company-backed solo work. A reward for those who took the time to dig it out, Th Blisks’ 2022 debut How So? was a DIY creation that fully embraced its outsider roots, revelling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, we proclaim their return with Elixa.

With an unseen clarity of vision, Elixa conjures its meticulously fleshed out world. Those familiar pieces are all there - the mystery, the patience, a cheeky pop hook - however this time there's an intentionality to it all. A blurred dialogue stretching across Australia, it was largely recorded remotely with tracks bouncing between Bowman and Besseny in Muloobinba (Newcastle) and Nipaluna (Hobart), and Matsumura stationed in Warumpi (Papunya). Every element is carefully considered, stemming from their individual time spent as lifers in the local DIY scenes. Through these tracks you can feel that history; echoes of Castings and Vincent Over The Sink in ‘Do You Bless It?’, Bowman's distinctive submerged tape loops gurgling away under boom bap and *that* Sydney guitar tone in ‘Esk’.

Elixa attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. Informed by the old but drug into The New, it is a begrudgingly current Australien record that respectively nods at the UK’s sound history.

Two brand new tracks by The Courettes on RED coloured vinyl. The A-side will also feature on the band's next album! The B-side exclusive to this release! Both tracks feature guest vocals by La La Brooks of The Crystals! 'California' is a song we wrote on our first tour in California last year. We wanted to bring all the sunshine and some psychedelic vibes from The Byrds, the Laurel Canyon, and tons of 12-string guitars to our songwriting. But somehow the lyrics kept some black clouds. It talks about traveling and leaving your loved ones behind. Any musician on the road can relate to this. Although you can have a great time around the world, you're always missing someone. Home is really where your love is. We are very proud of this track, and on top of it we have a guest vocalist. The legendary singer La La Brooks - yes, from The Crystals, the lead voice on the classic 'Da Doo Ron Ron', one of our favourite Phil Spector produced songs of all time. To have La La singing with us is an absolute delight and honour. It's so surreal that we haven't even realised it has really happened! For the mixing our producer Soren Christensen has teamed up with the fantastic Darian Sahanaja (who produced and mixed no less than Brian Wilson's SMiLE album) to enlighten even more the Californian good vibrations. So open up your windows, let the sunshine in and play this one to the max!

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

Komponist Daniel Pemberton kehrt für das nächste Kapitel der Oscar-prämierten Spider-Man-Saga zurück: Across the Spider-Verse. Für die Fortsetzung hat Pemberton seine ursprüngliche Klangwelt erweitert, um neue Geschichten im Multiversum zu erzählen, und dabei alles von opernhaftem Tenorgesang und einem 100-köpfigen Orchester bis hin zu indischer Perkussion, Punkrock, Techno-Drums, vielschichtiger Elektronik, verstimmten Celli, zeitgedehnten Beats und mehr eingebaut. 34 Tracks begleiten die Zuschauer:innen, Miles Morales und seine Gefährten und repräsentieren das facettenreiche Repertoire des Spider-Man Universums.

Sheffield's hugely talented producer Hedge Maze lands on Selvamancer. Years in the making after a long search to decipher an unreleased tune from an unknown alter ego found online (title track Riding The Wave), we're excited to finally bring it to the masses. Morphed industrial violence, tearjerking post-dubstep-trap and the ruthless title track bounce off the walls. Let's commence! Face to the glass. "You use a mirror to see your face, you use a work of art to see your soul." G.B.Shaw... but if you stood with your breath appearing on the canvas what would you say to a Mane or a Rothko three inches away from it. As you push your nose up to the mirror of your soul, what to say to it in response. To listen to one's soul is to hear its depth, for it has many voices, but which voice to listen to. Fear be a man's best friend, he will accompany you should you wish. Forever on your coattails, a whisperer of half unseen truths: distorting perceptions. grief, illness, disappointment, pain, struggle, poverty, loss, terror, heartache, All to be feared. Yet, all features of a life lived! Courage then is simply to live and to live well, choose the voice that gives light. Throw the house out of the window so some say, throw yourself too, say I. Mark Warren. - written whilst listening to Strukku's Beat on Hedge Maze EP

DJ Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music)

Cut from material recorded in April 2021 at Fish Factory studios in London, the album’s title Abbreviations nods to the editing and post-production processes that trimmed the original recordings into seven succinct and intricate tracks. Making space for collaborators Ernesto Marichales (percussion), Miryam Solomon (vocals) and Valeria Pozzo (Violin, viola), it builds on the critically-acclaimed success of Sound & Reason (supported by Gilles Peterson and Mary Anne Hobbs) to bring out different shades of the group’s shape-shifting sound.

‘Elevator Company’ condenses twenty-minutes of jamming around Tal Janes’ hypnotic guitar line into a low-lit lounge groove that subverts the tropes of elevator music associated with some forms of easy listening jazz. Featuring Solomon’s wordless vocals, the piece blurs the lines between ambient and improvised music, creating a warm and intimate atmosphere reminiscent of classic RnB recordings.

On a different tip, ‘The Spin’ is a trance-like freak-out drawing on the final reserves of energy at the tail end of two days of solid recording. Reflecting guitarist Janes’ idea that "music really starts happening after a while, once you feel like you have nothing left to offer," the hypnotic rhythm section sets the tone for an fraught and frazzled guitar solo that seems to dissolve the very edges of time and space in the process.

An album that speaks to Qwalia’s endless capacity for self-renewal and uninhibited expression, Abbreviations takes its cue from the group’s name to communicate something ineffable about the nature of music, rhythm and sound that must be experienced to be truly understood.

Edwin Starr was a Northern Soul hero, noted for his Ric Tic and Gordy/Tamla Motown recordings in the mid to late 60s.He is best known for his international chart topper 'War' a Vietnam War protest song from 1970. These two sides are from the same album 'War And Peace' .'Time' has been one of Edwin's most in demand Northern Soul dancers for many decades and certain issues of original copies have sold for over £250. In more recent times the flipside ' Running Back And Forth' has been played and is demand on the Northern Soul/Crossover Soul scene making this a great value 45 with two brilliant tracks in demand in their own right, which epitomise the era.

Canada's famously vibrant funk scene has given rise to many gems over the years and now one of them is getting a reissue on P-Vine complete with an obi-strip. The Sidewinders' much-coveted album, Flatfoot Hustlin' is a real gem that emanates the spirit of deep-rooted funk. Famously it was recorded in the same studio as Professor Lett and Study's Love Serenade which further details about it have long been unknown and mysterious. That has only added to its allure and appeal amongst the rare groove community but of course, the music itself is the real draw. Featured tracks like 'I Like To Dance' and 'Flat Foot Hustli'' cannot fail to ignite dancefloors, while 'Time For Loving' is a more smooth groove and 'Gift to the Sun' gets nice and heavy making this an essential cop for funk aficionados.

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

The wait is over for dance music enthusiasts and vinyl collectors! The legendary Bonzai compilation series from the 90s is back with its fourth installment. Presenting the fully remastered Bonzai Compilation IV - The Fourth Level, now available as an exclusive yellow vinyl package in a gatefold sleeve. This iconic collection features an array of timeless tracks that dominated dance floors and defined an era. Don't miss your chance to own a piece of electronic music history and relive the magic of this unique and vibrant release. Get your hands on it now and experience the beats that started it all!

One of melodic techno’s biggest breakout stars, Massano steps up for his Drumcode EP debut. The emerging DJ/producer from Liverpool already gave us a taste of his elite studio capabilities via the fantastic ‘Betrayal’, his contribution to last year’s Drumcode A-Sides Vol.12 release – one of the highlights of the compilation. Massano’s sound hits with a fantastic punch, characterised by super charged sound design and powerful melodic riffs with key releases on Afterlife and his own Simulate to date. His ‘Telepathic’ EP reinforces why we’re rightly so excited to have him on Drumcode. The title track is a juicy psy-laced stomper, propelled by a menacing low-end vocal that adds plenty of atmosphere to the cut. ‘Destructure’ is formed around rattling percussive effects, before euphoric melodic layers build in intensity throughout the second half. When the two elements coalesce, we’re treated to a track with immense peak-time power, that never loses its unique edge. ‘The Method’ is a melodic ace, shifting between laser-kisser dynamism and full throttle bass-driven energy.

Miquel Brown released "So Many Men – So Little Time" in the summer of 1983 and remains a club staple. Welcome to the Oculus Disco …



On the A Side “SO MANY MEN” is a twisted version of the original. Featuring sets of stabs and a reimagined melody, an extended breakdown with shortened count-down, this edit opens 4 perfect mix points to the original!



On the B Side “SO LITTLE TIME” is stripped of its former glam to reveal a tougher tone. Claps emphasis a darker vibe that dumps directly into an acidic rhythm. No vocals, chants, or breakdowns - this DJ friendly cut is suitable for Disco, House, and Rave settings.

Repress!

HERBERT HUNTER will be forever worshiped by the UK Northern Soul scene for his anthemic 45 'I Was Born to Love You', recorded in the home of country music, Nashville, in 1967. Sometimes things are just meant to be and they collide in perfect harmony. 'I Was Born To Love You' is a case in point. The perfect lyric - 'I Was Born To Love You, You Were Born To Tear My Heart Apart' - the perfect beat, and perfect timing as it crashed onto these shores in the summer of '76 when Northern Soul was at its zenith and Wigan Casino owned the All-Nighter scene! But, Hunter is no one-trick pony, as his list of collectable 45s bears testament, not least 'Happy Go Lucky', also on Spar. Hunter was part of Ted Jarrett's roster of artists and, under Jarrett's stewardship recorded a string of cover versions under the pseudonym Leroy Jones for the neighbouring budget label 'Hit'. He learnt much of his trade from established artists and label mates such as Gene Allison who he toured with as minder and nursemaid, due to Allison's drink problem. Often, when they arrived a venue, Allison was too drunk to perform and Hunter would step in for him.
For our B-side we've chosen a lesser known, but no less wonderful and gritty Northern Soul dancer 'I Know The Feelin'' by THE JADES. Currently very much in demand with a mint copy selling earlier this year for over $900. We know little about The Jades who recorded this incredible slab of up-tempo soul for Ted Jarrett's Poncello label in 1964 featuring, of course, Herbert Hunter's booming lead vocal.
Many thanks to Fred James for making this superb double-sider possible.

Simple Symmetry are back on Calypso for a second offering but this time around it's in a different format. They've enlisted remixes of tracks from their Sorry We Did Something Wrong album which first landed back in 2021 as a self-released project, which won over many fans with a sound that went way beyond the club and now gets repurposed for the dancefloor with extended and club versions. The Horsemen Of Housing & Commercial Services rework of 'Che Che' is a dark disco classic, Smaghhe & Cross rework 'Rounded With A Sleep' into something taught and trippy and INigo Vontier layers in plenty of darkness, grit and grime to his take on 'I Must Not Fear'.

After two fantastic releases on HOUSEWAX it's was now the right music and time to bring this great artist to CHIWAX!
Juno Dreams EP is a trip back to the best days of this genre.

The inaugural chapter of a two-part epic. Get ready for an eclectic and unique modern twist fusion of proto- EBM, New Beat, Electro, Rave Breaks and early UK house, weaving together a tapestry of diverse influences. Experience the raw energy pulsating through potent basslines, driving each track forward with unstoppable force.

Meanwhile, deep and thought-provoking lyrical voice samples captivate the mind, inviting listeners to ponder existential questions and explore the depths of consciousness and creating innovative soundscapes leaving an indelible mark on the listener’s psyche. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Island Boogie arrives four years after Meecham’s previous full-length, Music Not Safari, and sees the veteran producer deliver his most ‘personal’ set yet – a collection of kaleidoscopic, cosmic-leaning, dub disco-influenced neo-boogie excursions inspired by his love of the custom-built soundsystem at Rotation Garden Party, an annual micro-festival founded by a group of friends including his former Chicken Lips production partner Dean Meredith. It's fitting, then, that the EP begins with a superb interpretation of ‘'Dévoilez-Vous’ by T-Kutt, AKA Meredith and long-term studio partner Ben Shenton. The pair’s ‘AM FM Club Mix’ sits somewhere between classic Prelude-style electrofunk, NYC proto-house and early British interpretations of American house music. Séverine Mouletin’s chopped-up improvised vocals weave in and out of sun-bright keyboard riffs, colourful synthesiser motifs, heady synth-strings, D-Train style synth-bass and delay-laden machine drums. It’s a superb re-imagination of one of the album’s most stellar moments.

The EP’s other headline-grabbing remix comes courtesy of Leng co-founder Paul Murphy AKA Mudd. He reworks title track ‘Island Boogie’, teasing out the spacey synths and languid jazz-funk grooves of Meecham’s original mix and dialling them up to the max. The resultant revision sparkles with crunchy clavinet licks, mazy synth and electric piano solos, and spacey chords rising above a mid-tempo dancefloor groove. To complete a strong package, Meecham adds two dubs in his distinctively stripped-back, tape echo-heavy style. He first takes on EP title track ‘Dévoilez-Vous’, wrapping vintage drum machine hits in oodles of space echo and dub delay while devoting more time and space to the killer bassline, Rupert Brown’s infectious hand percussion, and Mouletin’s vocalisations.

To round off the EP, he dubs out album epic ‘La Cassette’, another collaboration with Mouletin that also features additional percussion by Brown. Like the original synth-powered dancefloor dubs of the early-to-mid-80s that have long been an inspiration, Meecham’s ‘La Cassette’ dub features key musical elements – many drenched in trippy effects – popping in and out of the mix, while his sturdy drums and memorable bassline spar with Brown’s percussion below.

Next Polyamore Recs release comes from Costariva, a really interesting project from Bologna (ITA).

‘Pantera’ intended to transport the listener into the midst of the vibrant paths of a dancing journey to the sound of Italo-disco rhythms, bringing body and soul back to the belle époque of Italian disco music.

“Miscela originale” is a blend of Catchy bass lines and shimmering melodies, amalgamated by the colours of strings and synths, the track is the result of the artistic blend between the music produced and arranged by Federico Franciosi and the words skilfully framed with an ironic and boisterous vein by Giorgio Michele Longo (aka Giargo) and Francesco Zaniboni (aka Dj Rou).

“Rivisitazione adriatica” has a catchy, sexy groove and a horns part that let you go on summer nights.

“Sam Ruffillo Rework” is a dancefloor ready track for your best peak-time in the next summer season festival.

‘Pantera’ is also intended as a veiled homage to one of the greatest and most underrated innovators on the Italian and international music scene, Pino D’Angiò.

With its infectious rhythm and playful spirit, ‘Pantera’ promises to make listeners dance and smile, instilling a little healthy and amused nostalgia in all travellers of the night.

Chapter Two/No Sleep is the successor of "A New Chapter" - the second Various Artists EP. This time onboard: Audio Units, talented producer duo from India, anonymous stunning techno Linear System and Tangram, a young techno DJ, Producer and Mastering Engineer based in Cologne. This EP is recommended to play on loud sound systems.

Theatrical rocker Arthur Brown gained notoriety and fame in equal measure through ‘Fire,’ an anthem to their pyrotechnic excess. When his backing musicians quit to form Atomic Rooster, Brown formed Kingdom Come to further explore the nexus of music and theatre and of the series of albums they cut for Polydor, Journey is the strangest and greatest. Stretching to the deepest reaches of space rock, Journey used the Bentley Rhythm Ace drum machine, and Victor Peraino’s synths, theremin and mellotron, to chart the astral records of history. This is Brown’s true masterpiece, an astounding record that was aeons ahead of its time.

Among the most famous husband-and-wife soul duos of all time, Ike & Tina Turner scored an incredible array of hits in the 1960s and 70s, before Tina finally exited the partnership. The debut LP on the Pompeii label, So Fine dates from 1968, a couple of years after a support slot on a Rolling Stones tour boosted their profiles; in addition to a remake of early hit ‘A Fool In Love,’ there’s an awesome take of Johnny Otis’ ‘So Fine’ and a competent rendition of ‘Shake A Tail Feather.’ Tina is fully in her element, the Ikettes keep up the harmonic pressure, and producer Ike handles the rest. Recommended listening for all soul fans!