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For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

2024 Repress

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 5 hosts a single edit of “Erotic Delight” from the band's 1984 album Kuomboka backed with “Change of a Feeling,” an unheard WITCH track released for the very first time.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressive garage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a newera. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighbouring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was also within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

2024 Repress

Mastered from the original analog tapes for the very first time, SHARP-FLAT brings you the WITCH DISCO SINGLES as you’ve never heard them before. WIT 4 carries a single edit of 'My Desire' backed with 'You Are My Sunshine' from the group's classic 'Movin’ On' LP from 1980.

By the end of the 1970s, WITCH was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressivegarage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a new era. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighboring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, WITCH produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the WITCH was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for
the flip.

Documenting the band’s drift from disco into boogie, WITCH’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was alson within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

We or Us records keeps the promise and comes back with an unique new vinyl. A harmonious fusion of underground house and minimal beats.

The art masters for this 12” are:
A1. The Mole: Crafting intricate rhythms that resonate with the depths of the dance floor.
A2. 3lias Erick Naval Clock Poets*: A collaborative force, weaving poetic melodies into pulsating basslines.
B1. Triptease & Greg Paulus: Their sonic journey invites listeners to explore hidden realms through hypnotic soundscapes.
B2. Fabrizio Siano: A master of subtlety, infusing each track with minimalistic elegance.

Mastered once again by maestro Pheek for an immersive listening experience.

This vinyl promises drag you into the corners of electronic music, where rhythm and soul converge.

Through deep rhythmical mediations, Midge Thompson's first EP emerges on his own imprint Dance Protocol, crafted with the intent to enthrall the dance floor. The A-side unveils a relentless intensity, with sub-bass lines echoing the lost era of raves, each beat a testament to a harsher reality. Conversely, the B-side invites a party atmosphere, its bubbling bassline and dynamic drums offering an escape from the mundane. First you must open your mind then your body.

For the next edition under the number twenty-two we have Peruvian mastermind Rufo, coming up to steer the spaceship into the right direction as he always does. Currently based in Barcelona being the resident of the legendary project Mad Radio that is expanding rapidly with the clear vision of electronic underground music. Therefore, our artist has learnt and studied the ancient methods of best of the best. The extend play is called chronicles of past millennium and explores the sound of the past with a modern twist on it. It’s sounds splendidly fresh now and with full confidence could be said it will sound fresh in all the upcoming future millenniums. The record features a vast range of sounds which shows the maestro is very versatile at the executing stunning audio puzzle pieces that are ready to blast the dancefloors of big clubs, illegal raves or the afterparties all over the globe.

Exzakt returns with ''LoveHertz,'' a masterfully crafted 10-track album released on Monotone that showcases his evolved veteran skills. This album is a flavorful fusion of Electro, Miami Bass, and Freestyle, exuding tons of character and energy. ''LoveHertz'' features a diverse array of tracks, from the powerful female vocals to the soulful vocoder ballads, and Exzakt's signature raw vocals. The standout tracks ''Don't Know How To Forget,'' ''Nothing Wrong,'' and ''Inside My Dream'' highlight Exzakt's ability to blend genres seamlessly, creating an immersive listening experience. With ''LoveHertz,'' Exzakt proves once again why he is a respected name in the electronic music scene, delivering a unique and compelling album that is sure to captivate listeners and leave a lasting impression.

The second work by the Hamburg based band, retro synthwave/synthpop at its best.

Quintessential compilation of early collaborations by Silverlining (aka Asad Rizvi) with other artists between the golden years of 1996 and 2001. The album reinvigorates several timeless tracks—some known, others rare or unreleased—across a beautifully packaged 3LP with extensive sleeve notes and exceptional analogue mastering. The album includes sought-after and rare works by Two Right Wrongans, Impossible Beings, Appleheadz, Southern Comforters, and Bluegoose vs. Silverlining. The compilation includes one previously unreleased Impossible Beings track rescued from DAT archives. Moving from blissed-out listening into up-tempo underground grooves and then back, the anthology serves both headphone and heads-down-on-the-dancefloor listeners alike.

Musique Pour La Danse proudly presents "8 COFFINS", an essential collection of original tracks by the British duo Dougie Wardrop (of Conscious Sounds fame) and Nigel Lake as Jungle Neck unearthed from the mid 90s from original masters for all fans of the Jungle Sound. These impressive and mind-blowing soundclash ready weapons feature the deepest analog subs and sharpest drums, killer reggae samples to fit any sound system, and stands out as possibly the only jungle album in the bizness with an innovative and effective live dub production feeling. This unique characteristic makes it even more essential and one-of-a-kind, capturing the raw energy and innovation of the era.



For fans of the peak era of Jungle, with shades of reggae and dub, warehouse raves, heavy basslines and 160 BPM.

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

In an exciting development for OYE Records, the renowned Berlin record shop is set to relaunch with an anticipated debut EP from fast-rising local artist LACATY. LACATY's journey into the industry began through a serendipitous meeting with an OYE team member through Femme Bass Mafia and eventually found their own paths. As the idea of releasing a debut EP came up, it felt natural for LACATY and them to join forces. Relocating to London marked a pivotal moment in LACATY's career. Immersed in the city's vibrant energy, she was among a select group chosen for the AVA Creator Forum, where she honed her skills and creative practice. The distance from Berlin's social scene provided the mental space to fully develop her ideas, resulting in a debut EP. "I wanted to create what I play – tracks that are not only energetic and punchy but also filled with emotion," LACATY shared. "Being in London, away from the familiar Berlin vibe, allowed my sound to evolve naturally, unconfined by genre expectations." Designed to heat up any dance floor, all three tracks feel like an ode to the vibrant 90s music scene. They are woven together by a blissful euphoria, while simultaneously evoking a sense of nostalgia.

Once upon a vibrant night in the heart of the Baltic States, a prodigious artist emerged from the depths of the electronic music scene. Meet Electricano, an enigmatic DJ and producer hailing from the picturesque country of Latvia in Europe.

With an insatiable passion for electronic beats, Electricano has become a force to be reckoned with in the world of music. Drawing inspiration from various genres, he weaves together a mesmerizing tapestry of sounds, captivating audiences with his distinctive style. Effortlessly traversing the landscapes of Dubtechno, Breaks, Electronica, and beyond, creating a musical experience that transcends the ordinary, Electricano's sonic palette knows no bounds.

With each track on this EP, he invites audiences to lose themselves in the pulsating rhythms and soaring melodies, forging a connection that transcends language and borders.

Landing on the shelves September 20, 2024, "All Night" is guaranteed to keep you grooving until the break of dawn!

Death Is Not The End's 333 series continues with this killer slice of digi roots out of late 90s NY, also a big Jah Shaka selection at the time.

Take It Easy was produced by Ricky "Mad Man" Myrie - a reggae/dancehall producer active since the early 90s, and who was also providing writing and production on breakthrough albums for VP from Sean Paul, Capleton & others at this time. Featuring a sharp and poignant vocal from Gumbae Culture, it was recorded at the legendary Philip Smart's Long Island-based HC&F Studio, under the engineering guidance of Smart's brother-in-law and long time studio partner, Michel McDonald. The record's haunting xylophone licks, razor sharp snares and menacing subs perfectly combine throughout the vocal cut, and really come to the fore on the version for a raw and stripped back masterclass in digital dubwise.

Samosa Records dips its toes back into the Afrikano waters with Volume 3 of the Afro themed, genre-busting series and features four deadly tracks from some of Samosa’s most trusted lieutenants.

Breaking the ice as the first track of this exceptional EP is Vincent Galgo and ‘African Rebel’. Mr Galgo has clearly read the brief here – giving us a 125bpm marauder that’s a melting pot of unstoppable horns, furious rhythms and an Afro-pop style bass that is the beating heart of the track.

Track 2 is Samosa regular Frank Virgilio who introduces us to his ‘Mistress’. As a straight up jazz-infused, mid-tempo rhythmic chugger, ‘Mistress’ quickly gets down to the important business of racking up the beats and instrumentation. The generous spread of guitar riffs, assertive bass and organ stabs are expertly lifted by the layered and always rolling drums and bongos induce a trance-like state of mind, so be warned!

On the B-Side Samosa newcomer Casper Leo wears his Tribal heart on his sleeve with the enchanting and utterly captivating jangler - ‘Tom Tom’. You can never have too much Kora guitar and ‘Tom Tom’ has lashings of it, with delicious sprinkles of melodic Marimba – perfect for West African sunsets.

Closing the EP off in style is Afro beats grand master, Lego Edit and the filthy-sexy ‘El Safari’. No other producer can take the essence of the Afro beat structure and bend it to their will like Lego Edit can. Like a late night fist-fight in Club Coco Bongo, ‘El Safari’ punches its way out of the doors. A slinky, wily alley cat of a tune that digs deep with its claws and doesn’t let go and another masterpiece from Lego Edit.

Afrikano Vol.3 has done the impossible and set the bar even higher for this wonderfully diverse Samosa series. We want more. We want ‘4’. With this in your record box, you’ll come with a warning.

A highly talented artist who has grown to make a notable impression amongst the scene’s most revered tastemakers, DJ/producer and label owner Jhobei is an individual who continues to blossom. His deep, expansive sound has already welcomed material on Up The Stuss, Limousine Dream, Mindhelmet and Picnic Records, amongst others, while featuring as a co-founder of London-based collective and label Bizarre Trax. In addition, his work as one-third of dynamic trio Felon5, coupled with his unique sound, has taken him from Albania’s ION Festival to Los Angeles, alongside making a handful of appearances for FUSE and its sister brands on home turf at fabric, The Cause and Village Underground - plus 2024’s Open Air event at Barking Park earlier this year. Building on that relationship, late September brings fresh music as Enzo Siragusa invites the exciting selector to make his label debut with an array of impressive productions across his ‘Age Of Virality’ EP. A-side opener ‘Swarming’ is all action and kicks things off with authority as a snaking bassline guides a garage-influenced trip through bumping low-ends and hooky vocal samples, while ‘Machine Language’ delivers a mix of playful tones amongst sweeping melodies while delivering a heavy dose of robot funk. On the flip, ‘Defusion Solution’ is a heady late-night excursion through skippy percussion and cosmic tones, with ‘Rising Sun’ stripping things back to deliver a classy, hazy journey as organic percussion grooves unravel effortlessly. Digital buyers are treated to a bonus cut in the form of ‘Kontrol Urload’, a sci-fi leaning cut merging glistening neon synth motifs with punchy kicks and zipping effects for maximum impact.

Mit einer Yamaha-Orgel und einem Traum begann der Südafrikaner Pops Mohamed seine musikalische Reise Mitte der 1970er als Bandleader von Black Disco und schuf eine angesagte Chill-Out-Jazz-Melange mit futuristischen Drum-Machine-Sounds und spirituellen Obertönen. Ihm zur Seite standen die beiden gefragten Sessionmusiker Basil Coetzee (sax) und Sipho Gumede (bass). Mit den polyphonen Beats von Mohameds E-Orgel und später mit einem Drummer ausgestattet, schuf Black Disco in einem Ausbruch von Kreativität 1975-76 einen unverwechselbaren Sound und eine Trilogie innovativer Alben. Das italienische Boutique-Label Afrodelic präsentiert die erste vollständige Reissue des 1975er Debütalbums von den Originalmasters.

Die "French Touch Collection" ist eine Doppel-LP-Serie, die der französischen elektronischen Musikszene gewidmet ist. Beeinflusst von neuen Musikgenres wie House, Hip-Hop, Techno und den Rave-Partys, beteiligten sich Mitte der 90er Jahre mehrere französische Produzenten an der Demokratisierung der elektronischen Musik. Ihre Musik, die der britische Journalist Martin James "French Touch" nannte, wurde 1996 zu einem neuen, international bekannten Musikgenre, das sich durch elektronische Produktionen und Musiksamples aus Hip-Hop, Funk oder Disco auszeichnete. Anfang der 2000er Jahre erfand sich die "French Touch"-Szene mit einer neuen Generation ungehemmter Künstler neu, getragen von einem rohen, rocknahen Sound. Die 2010er Jahre brachten eine neue "French Touch"-Welle mit sich, die von der Popmusik beeinflusst war und sich mehr auf Melodien und Oneiric Universes konzentrierte. Dieses neue Werk ist dem House gewidmet, mit Künstlern und Tracks, die zur Entwicklung des "French Touch" beigetragen haben: "Bon voyage"!

Die Musik ist tief in der DNA der Buddha-Bar verwurzelt und hat schon immer eine Schlüsselrolle in unserem Universum gespielt. Unsere musikalische Handschrift, die 1996 in Paris entstand, spiegelt die traumhafte Atmosphäre unserer Restaurants perfekt wider. Subtile und hypnotisierende Mixe, eine perfekte Mischung aus mystischen House- und elektronischen Rhythmen mit afrikanischen, asiatischen, indischen, lateinamerikanischen oder orientalischen Klängen... Buddha-Bar Music verbreitet seit 1996 seine guten Vibes in der ganzen Welt. Dieses dreifache Best Of zeichnet unsere Geschichte von 2014 bis 2024 nach und versammelt von Ravin sorgfältig ausgewählte Titel und Künstler, darunter Buscemi, Sahalé, Desert Dwellers, Kenneth Bager, Ali Kuru, Santi & Tugçe, El Bùho, Troels Hammer, ...

As we get into the groove of the summer time; it comes with great pleasure to introduce the next release instalment that comes as a collaborative pressure of collectivity & quality musicianship to produce the EP that we had decided to title as the 'Forward On Riddim' which best describes the vast amount of works that has been going on with this link up between Ashanti Selah & Hark's riddim factory (many work in yet to be released in the pipeline!)

Featuring on the Forward On Riddim we have the vocal works of Zed Regal with a version called 'Magical Connection' which describes the deep sense of understanding and empathy between what would be seen as a search for the search of that divine soulmate.

Then leading into the next version on the riddim 'Overstand' with a message of upliftment for the good of Humanity to rise up and stand as one for the right cause in the spirit of Equal Rights & Justice for all Mankind - that is what we must overstand!

Last but not least we have the real deal artist Mad Sam with a track that he had voiced with no rehearsal fresh from the vibes of JA called 'Unbreakable' preaching words of wisdom to the youths of today to keep it firm and always show love & respect to receive it!

Hope you feel the vibe and message in the music as we bring you these heartikal sounds with an immense line up of top-class international musicians in what turned out to be the first collaborative project between Ashanti Selah and Zac Harkavy!
credits

Available on black vinyl 10". To coincide with the Brian Jonestown Massacre's North American & Australasian tour 2023 is the release of two new exclusive tracks by the band. Recorded in Berlin & remotely in 2023, the opening track "Abandon Ship (Martian Meltdown Mix)" runs at over 11 minutes and plays at 33 rpm, "Maybe Make It Right." the B side is nearly 4 minutes & plays at 45 rpm. Available at shows but will not be available until the release date. With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), & Uri Rennert (drums) playing on this offering. Emil Nikolaisen (Serena-Maneesh / BJM) & Ryan Carlson Van Kriedt (Asteroid #4 / BJM) on engineering duties. The release comes in a heavyweight PVC bag with the artwork being a J card so you can see the vinyl.

This is the first new release by Terrence since 8 years!
Don't miss this furure classic.
Highy recommended!

432HERTZ Berlin Unveils its Hypnotic "Space Collective" Debut Vinyl

Prepare to lose yourself in the world of underground electronic music with the arrival of 432HERTZ Berlin's inaugural vinyl release. This meticulously curated collection transcends genres, weaving a spellbinding narrative that will transport you to uncharted sonic territories.

Side A: A Celestial Exploration

•A1: Computational Universe (Rinaldo Makaj): Brace for liftoff as Rinaldo Makaj's "Computational Universe" propels you towards the furthest reaches of the cosmos. Lush soundscapes shimmer with meticulously crafted synth sequences, evoking a sense of awe-inspiring discovery amidst the celestial expanse.
•A2: Mesosphere (Rickie): Descend into the enigmatic depths of "Mesosphere" by Rickie. A sophisticated bassline throbs like a beating heart, guiding you through a soundscape shrouded in mystery. Evocative leads and atmospheric synths create a captivating soundscape that lingers long after the final note fades.
Side B: Where Electro Meets Soul

•B1: Escape from Reality (Electric City): "Escape from Reality" by Electric City ignites a surge of raw energy, pulsating with the primal spirit of classic electro. This genre-bending track seamlessly integrates soulful influences into a driving electro foundation, creating a sonic odyssey that's both exhilarating and deeply moving.
•B2: Mario's Juice (Pumio Space): The journey concludes with Pumio Space's "Mario's Juice," a sonic elixir that washes over the listener in waves of euphoria. This tranquil soundscape provides a perfect descent, leaving you in a state of blissful serenity.



A Testament to Underground Electronic Music

Curated by Rinaldo Makaj, 432HERTZ Berlin's debut vinyl release is a powerful testament to the boundless creativity and diversity of underground electronic music.

Deejay use only!
White label TCR is back with three club-ready synth-pop edits.
Party people, we gotta keep this thing going...

Anthony Linell's Lundin Oil project suggests a politic and an aesthetic in one swift movement. We may make certain deductions about each, but we must work backwards from where they meet.
 
Through the brutalising industrial mechanisms to which titles cryptically allude, we are given an exponentially urgent image of devastation. This is projected, pitch-perfectly, into a rapacious and erosive aural demonstration that barely meet metrical demands.
 
Exploit Divisions, the first Lundin Oil release since 2016, redoubles this threatening realisation. The album pivots between seismic static waves and jagged rhythmic noise, seeking a wider vantage with melodic drone ensembles. A ferocious departure from his primary work, Exploit Divisions is a purposeful reminder of the savagery of brevity.


Recorded by Anthony Linell in Sofia, Sweden 2022-2024
Visual by AL
Mastered by Giuseppe Tillieci at EnissLab, Rome

Sameheads & Mutant Radio are going a teenie weenie bit further and unifying their ongoing collab in plastic. The kind you play, not the stuff you throw away.
Released in Spring, at a party we’re throwing together in Tbilisi, this little beaut is a double sided 7”.
The MUTANTHEADS split 7” features some solid sound rep from both projects….
For Sameheads, Andrea & Alexander release their first material together, acting as a kind of trailer to an upcoming album released later this year on R-I-O. The track “Olias” finally gets its press after once being performed live at the fabled Sameheads festival “City of a Thousand Suns”… those were the days eh…..
On the Mutant Radio side, fresh talent TINA delivers her debut release, and for that matter, the first ever track Mutant have put onto a piece of vinyl….. The track “Vacation” is the squelchy black sheep counter balance to the silky synth vibe of the other side. Just how they like it.
The release will be up for pre-order from next week, and the digital stuff too…. Just the 300 copies available…… So,,, fix up look sharp……

This album takes you back to Colombia of the 50s and 60s. In those days, the tropical music of the Caribbean and Pacific coasts took over the country's mainland music scene by storm. One of the key figures during this period was Edmundo Arias. Together with Lucho Bermúdez and Pacho Galán, Arias is seen as one of the ‘big three’ composers of Colombian tropical music.

He was a rather introverted person who avoided being in the spotlight at all cost, leading to his work being less known than his contemporaries. With this album we hope to highlight the amazing legacy Edmundo Arias has left us. Think of big bands with sharp dressed musicians playing the finest cumbias, porros and other tropical sounds in fancy ballrooms on a hot evening in Medellin or Bogota.

Liner notes:

Edmundo Dante Arias Valencia was born in Tuluá, Valle del Cauca, on the 5th of November 1925. He came from a family of musicians. His father, Joaquín Arias Cardoza was a band leader and composer who taught his children to play music. Arias learned to play many instruments such as the guitar, bass, bandola (pear shaped string instrument related to the mandolin), tiple (12 string guitar), clarinet and saxophone. He proved to be a very talented musician and together with his father and his older brother Ricaurte he formed the ‘Trio Arias’. The family lived in different cities across Colombia depending on where they found work. When his father died unexpectedly in 1948, Edmundo and Ricaurte had to support their family working as musicians. In 1951, Arias decided to move to Medellín, in those days the heart of the Colombian music industry and the city where the most important record companies and the best musicians were based. It didn’t take long before Arias made a name for himself as a musician, composer, arranger and band leader for Colombia’s leading labels at the time; Zeida, Ondina, Silver and Sonolux. For the latter, he would eventually become the artistic director. Over the years, he wrote hundreds of songs, recorded many albums with his own orchestras or with the Orquesta Sonolux and collaborated with a countless number of musicians, often uncredited.

Together with Lucho Bermúdez and Pacho Galán, Edmundo Arias is seen as one of the ‘big three’ composers of the tropical music of Colombia. But despite the fact that Arias was renowned, very little is known about his personal life. He was a humble man who preferred to work in the background and avoided being in the spotlight at all cost. He declined interviews and kept away from public life. On some live performances of the orchestra that carried his name, Arias asked one of his musicians to pretend to be him, so that he wouldn’t have to come on stage. You might think that Arias was shy or anti-social, but this was not the case. Most people he worked with described him as a very jovial, good humoured person and enjoyed working with him.

His invisibility in public life belied how present he was behind the scenes. If he wasn’t working on his own productions, he was regularly collaborating with other musicians. Arias had his hand in the work of many of his colleagues and was a mentor for young artists. Some even say that in those days all the musicians in Medellín had worked with Arias in one way or the other. He had a strict working regime: composing, arranging and recording at night while sleeping during the day. He was also very productive. The story goes that on one occasion, he wrote arrangements for a 16 piece band in just a few minutes while the band was recording another song. His hard work and productiveness resulted in hundreds of compositions and many records that carry his name.

Edmundo Arias’ career ran over 6 decades until his death on the 29th of January 1993. Over the years, he left us a huge legacy. The songs on this record are a selection of his work during the 50s and 60s. Many see this period as the absolute highlight of his career. We picked out the songs we consider to be the most outstanding recordings from this period. The title of this compilation Guepa Je! is Colombian slang often used in cumbia to express joy or to celebrate. A free translation would result into something like ‘yeah’, ’let’s go’ or ‘groovy’. I guess this title says enough. Enjoy the music. Guepa Je!

The fourth studio album „Pain Matters“ by Rico Friebe came totally unexpected to him as well as it comes to you now!

Deeply affected from personal occurences within the further realms that already spawned „Anthems For A Lost Generation“, Rico fell into an abyss where anything became possible – anything raw, spell-binding, meditative and bold as „Pain Matters“!

how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

2025 Repress

Breaking new ground at The Third Room, we are introducing our first full EP by a guest artist, setting the stage for more to come.
Since quantum mechanics arose from classical physics' failure to explain microscopic phenomena, Berlin's exceptional creative mind Arthur Robert pays tribute to the interaction of little entities that can result in the release of colossal power and provide answers for questions older than the universe itself with his Particle Accelerator EP on The Third Room.
Genuine, dynamic techno that defines itself through crisp sound design, memorable textures, and highly compressed, sometimes distorted drum arrangements makes this piece of music a profoundly soundscaped lecture in four classes that gets its final, emotional touch from either melodic compositions or disruptive beeps. Creating those fascinating pieces within fast-paced and hard-hitting club sounds is one of Robert's trademarks, making him a hugely exciting producer.
Out from September 6th and available on all platforms and always remember - the whole is more than the accumulation of its units.

2024 The Third Room
Mastering by Ahmet Sisman (The Third Room Studios)
Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ)

2026 Repress

Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out

Russian Circles kehrt mit einer Wiederveröffentlichung ihres legendären Albums Empros zurück, komplett mit einem neu gestalteten, geprägten Klappcover, erhältlich auf klassisch schwarzem Vinyl. Empros machte da weiter, wo die hymnischen Riffs und Melodien des 2009er Albums Geneva aufgehört haben, und injiziert noch mehr schleppende Rhythmen inmitten von Schädel-zerschmetternder Wucht mit der ganzen viszeralen Intensität von Godflesh, Swans und Neurosis. Einfach ausgedrückt: Empros ist Russian Circles' Master of Reality: eine radikale Überarbeitung von sowohl Heavy als auch Melodie, die in ihrer Klarheit und Perfektion monolithisch ist. Oder, wie ein einzelnes überlebendes Wolltier, das aus dem brutalen Frost des Winters auftaucht, ist Empros der Sound einer Band, die das Alter von ihren Schultern schüttelt, mit all der brutalen Kraft eines erwachten Ungetüms. Seit jeher arbeiten Mike, Dave und Brian an derselben Statue. Sie meißeln, sie schlagen, sie hämmern auf sie ein. Manchmal mit voller Wucht, manchmal sehr filigran. Die Meister monolithischer Melodien und monumentaler Rhythmen in absoluter Klarheit dargelegt, sind wieder am Werk. Mit "Empros" legen sie wieder ein Stück dieser gewaltigen Statue frei. Und vielleicht gibt es sogar ein paar Überraschungen in den sechs Tracks des Albums. Es gibt Riffs, ja - viele davon. Aber bei Empros scheint die gesamte Band die Verkörperung des Riffs selbst zu sein. "The six-song album intricately blends fat, grisly, discordant riffage with melodic, atmospheric, proggy sprinklings to create a sonically elaborate and raw package." - Premier Guitar

Members of Papir & Causa Sui travel through new musical realms. 3 musicians with their own compass: Martin Rude & Jakob Skøtt have shared a wide range of musical quests: from Causa Sui’s “Bitches Brew of Stoner Rock” crossing the folk meditations of Sun River and arriving most recently as members of the pre-fusion electric dealings of the London Odense Ensemble. Papir guitarist Nicklas Sørensen is not merely adding a new layer to an established duo, but his presence to the party have brought it into more meditative dwellings. These pieces move slowly, evolving like the slow growth underneath the ground. Whereas Causa Sui & Papir have always excelled at blistering panoramic and often sundrenched sounds, Edena Gardens take a dive inwards and downwards rather than outwards. But there’s also an electrically charged ecstatic rawness to the dealings. Like Æther, the 10 minute opener’s 2 guitars-and-a-drum kit improv, finding it’s way from tumbling drones into monolithic slow riffage. Elsewhere, we find trails of electronic vapors, misfiring bursts of noise and slow drones stretched out. Edena Gardens is a thing to be experienced first hand - it’s not for everyone, but those who decide to stay are greatly rewarded. It’s a debut unlike any other record on El Paraiso, perhaps unlike any you’ve ever heard. Welcome to Edena Gardens. Tracklist: 1. Aether 2. Sliding Under 3. The Canopy 4. Hidebound 5. Now Here Nowhere 6. Iod 7. An t-eilean Dubh

DJ support: Tim Sweeney, Make A Dance, Parris, Pleasure Voyage, Camillo Miranda

Back yard - Back yard is the first single from the new Teen Daze album, Elegant rhythms, and features singer-songwriter Andy Shauf on drums, and LA jazz staple, Sam Wilkes, on bass. This is a stark change in sound for Teen Daze, who’s last album Interior was an exploration of neon-lit House music. Back yard is a mellow groover, conjuring up images of Laurel Canyon in the 70s, yet still with its flourishes of contemporary sounds.

We’re out of phase again - We’re out of phase again is another vulnerable glimpse into the inner world of Teen Daze, and marks the release of his most personal album to date, Elegant rhythms. In contrast to the synthesized, digital world of his prior album, Interior, here we’ve been brought into a lush, organic arrangement, brought to you in large part to the stunning bass playing by Sam Wilkes. While the verses pulse forward, the chorus slows things down, and evokes the sophisti-pop sounds of The Blue Nile. This track is a stunning showcase of the world of Elegant rhythms.

Nothing’s gonna change my love - Teen Daze returns with his second single of the year, Nothing’s gonna change my love. The stark change in sound, as heard on previous single Back yard, is on display here again: a smouldering, 2 and a half minutes of slow jazz-pop, indebted to the great Sade, or perhaps the feeling of leaving downtown LA at 2 AM. Lyrically, we hear a story of a love, challenged by the unpredictable nature of our lives. This may be Teen Daze’s smoothest song to date.

Neighbourhood - Neighbourhood is the third single from the recently announced LP from Teen Daze, Elegant Rhythms. Along with Andy Shauf on the drums, and Sam Wilkes on the bass, Teen Daze gives us a languid tour of his quiet neighbourhood. The sun has set on the pleasant, tree-lined streets, and a stranger, more surreal environment presents itself. The song plods forward at an extremely comfortable pace, held down by the paradoxically loose-yet-tight rhythm section. Lyrically, we walk around the Neighbourhood at night, and while the chorus reveals a type of sobriety, the vibe of the song makes it easy to feel a little…effected.

Fade away - Fade away sets the tone for Elegant Rhythm’s side B: a deeply personal, though somewhat veiled, confession of loss. How does it feel to grieve something that was never really here? A smouldering, slowly progressing first half erupts in synthetic noise, and then fades into the ether with it’s repeating refrain, “I can feel you / feel you fade away / when there’s nothing / nothing left to say”.

Fall ahead - A sweet piano tune which serves as a quiet break in the record, intended to help the listener reflect and take a moment of pause before we reach the final two songs on the album.

HST underwater - The penultimate track on the record tells a story where the narrator finds themself in an alien, yet oddly familiar place. Arpeggios soaked in crystal blue water flow through the stereo field, while the narrator, vocoded and drenched in autotune, searches for meaning and purpose in a confusing world. This is one of Teen Daze’s most cinematic, emotional songs yet.

In the rain - It’s never really made explicitly clear on this record, but a lot of these songs find Teen Daze wrestling with life as a new father, and this song, the final on the album, expresses the fears of generational trauma. A touching, tender ode to his children, we hear Teen Daze at his most personal and vulnerable. The falling rain surrounds some absolutely breathtaking bass playing from Sam Wilkes, and Teen Daze’s signature ambient keyboard sounds.

Radio Support: Ruf Dug (Soup To Nuts on NTS)

Released in 1981& the last in a decade-long run of Top 50 R&B albums, ‘The Electric Spanking Of War Babies’ was the band’s twelfth studio LP & featured several players new to the Funkadelic line-up, notably Sly Stone. With its allusions to the Vietnam War & US imperialism, George Clinton’s project was destined to court controversy from the start, not least for its uncompromising sleeve art which original label Warner Bros. censored. Described by Robert Christgau as “the solidest, weirdest chunk of P-Funk since one nation gathered under a groove” & originally conceived as a double LP, many tracks saw release on Clinton’s later P-Funk projects. Arguably, it is better for having been précised down to a single album while still spawning two hit singles, the title track (US R&B No. 60) & ‘Shockwaves’ (US R&B No.53). FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

"Described by Zimbabwean journalist Liam Brickhill as “a new star in the southern sky”, and by his legendary mentor, Bra Johnny Mekoa, as “the future Jonas Gwangwa”, Malcolm Jiyane is a cornerstone of the contemporary South African Jazz scene. From his teenage years, it was under Mekoa’s tutelage that Jiyane developed his prodigious talents into the multi-instrumentalist that he is today. What Theon Cross is to the tuba, Malcolm is to the trombone, although his ability to embody musical production extends far beyond one instrument. His work thus far constitutes, amongst other works, film score (which he composed as a teenager), and debut album UMDALI (meaning ‘creator’ in Zulu), which was received to universal acclaim, including a 5-star review (and Global Album Of The Month nod) from The Guardian. In 2024, Malcolm Jiyane Tree-O (Tree-O is the name of his band), returns with his sophomore album ‘TRUE STORY’, an exploration of the current state of the rainbow nation through a series of songs inspired by real people and their stories. TRUE STORY releases on 14 June, on digital, vinyl and CD. "

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

Slush Records are back for their second outing, remastering and rereleasing Sedona’s highly sought-after 1995 track, ‘Pulsation’. A portal to the underground of the ‘90s, Sedona’s original mixes and the remix from Robert Vaughan, fuse progressive house, trance and breakbeat, each oscillating to their own unique frequency. Not stopping there, Slush Records enlist the expertise of Seoul-born, Amsterdam-based Naone for a mesmerising new remix that harnesses all of that early ‘90s energy, with a fresh dynamism.

The story of Sedona begins with Dale Charles and Benny Blanco. As a touring DJ and buyer at Boston Beat Records in the mid ‘90s, Dale Charles was in diggers paradise. Freestyle was big business at the time and as a progressive house and breaks DJ, Dale couldn’t help but notice how good the drum programming was on some of the tracks. He spent endless hours trawling through the shops near 10,000 freestyle records, hoping to find that elusive secret weapon.

One day Dale found the break he was searching for and took it to Benny’s studio. Benny was an aspiring DJ and, more crucially, a producer with a conveniently concreted basement apartment he was slowly filling with synths, samplers and drum machines. Sampling and chopping up this gem of a break, utilising two TB-303’s that Benny recorded live for the acid lines and creating that signature throbbing arp on a Roland JD-800, the basis of ‘Pulsation’ was born.

The duo created a series of different mixes to tweak the feeling of the track. The ‘Ascending Mix’ and ‘Sinister Mix’ bookend this reissue. The former, a club-focussed cut with subtle to squelching 303 lines, rumbling sub bass frequencies and pulsating arps that anchor the track, as the sacred drum break fires your brain into trance-infused euphoria. The latter, an ominous slice of teleportational ambient electronica, sucking you into a wormhole of galactic synthesis and dream-state harps.

The first of the remixes sees Slush draft in the progressive wizardry of Naone to provide a fresh new take on the track. Leaning into the otherworldly ‘90s atmosphere of the original, Naone radiates the pulsating theme through swelling synth stabs and a driving acid bassline. Switching up the feel with an electro-tinged drum beat, she distorts the acid dials till the track explodes into a dystopian realm of twisted techno.

The second is Robert Vaughan’s ‘Test Tube’ mix from the original 12 Inch. A no-nonsense prog headspinner, that garnered plays from the likes of Sasha and Digweed. An acclaimed DJ and producer across the ‘90s, with releases on the likes of Space Records and Metropolis, Vaughan injected the track with added breakbeat energy and swirling, tripped-out breakdowns to masterful effect.

A timeless dancefloor classic, expertly remastered and reissued with a remix that both honours and updates the original.

An Italo Disco rarity from 1984 now available again on a
colored 12“ maxi single:

Ken Laszlo - Hey Hey Guy!

On side A we present the rare original versions. As a highlight
on side B you can look forward to two new and exclusive
remixes by Flemming Dalum. This strictly limited colored
vinyl is a tribute to the golden years of the Italo Disco era and
brings the pulsating rhythm and the unforgettable groove back
to the turntable.

Reissue of this italo disco classic from 1984. Comes with Flemming Dalum remixes.

Unequal cycles in search of synchronous experiences: On his new album »Pounding«, Frank Bretschneider tells of distance, convergence and congruence in a continuous, ever-changing flow of events. What is often regarded as an unquestionable dogma in club music (for which Bretschneider has provided significant impetus since the 1990s) – the groove – appears precarious, unstable, and in motion. Pulse and accent are volatile encounters and have to be found again and again for short, delightful moments. Music becomes a constant process of negotiation.

In search of new sound spaces, Bretschneider has recently worked a lot with modular synthesizers, both solo (for example on »abtasten_halten«, 2020) and in collaborations, including the project Beispiel together with Jan Jelinek. »Pounding« was created using similar means – conceived in 2020 for the Pochen Biennale in Chemnitz, subsequently developed further and recorded in March and April 2023 on a sample-based modular system. And in fact, Bretschneider is once again exemplarily scanning his own sound material, such as dub effects that listen to themselves disintegrate; but also the human voice, or more precisely: the stuttering of fragments of speech, far in the distance but omnipresent, like a mysterious narration. Aesthetically, the eleven pieces form part of a series of works with a focus on percussion. Bretschneider has already perfected this approach with albums like »Rhythm« (2007) and has been shifting the perspective ever since, for ever new results.

Shifting is the basic principle of »Pounding«. Bretschneider combines elements that are in different aggregate states, changing their relationship to each other and thus ensuring the complex overall movement. He lets one to two-bar loops run against each other and through small manipulations, develops a network of rhythms that creates a hypnotic state in the counterplay of repetition and mutation, between clearly recognizable meter and disorientation. There are comparable approaches in aleatoric music. Bretschneider combines them with sounds and patterns that are reminiscent of step sequencer logic and at the same time go far beyond it. The result is relational techno. Never obvious, always restless and exciting.

The new Alexander Melzak Album has arrived. In 'Substrates', Melzak delves further into otherworldly electronic textures, revealing breath-taking soundscapes and sonic imagery. His unique sound brilliantly frames his deft and idiosyncratic compositional style. The result is boldly escapist, often surprising and vividly imaginative.

Unrecognisable” is a story about a city where buildings are used as weapons in a war between the government and the people. The initial chapter, “Eiffel Shard”, was published as an online graphic novel with an interactive soundtrack. It depicts a phone call between Paris Hell and Geneva Heat, two members of the resistance group Unrecognisable. During the call, Paris informs Geneva that a deadly building, The Shard, is now under the authorities’ control. What’s worse — the government also got hold of a secret building transformation plan developed by the resistance. Paris tells Geneva that the Unrecognisables decided to abandon the plan due to the number of civilian casualties it would inevitably cause. A series of intricate explosions would force the building’s glass surface to rip through the surrounding areas, destroying everything in its path and leaving only a pointed metal structure standing: an Eiffel Shard.

The second chapter, “Paris’ Dream”, was performed by Lolina as an improvised gig. Samples from the soundtrack to chapter one accompanied a video showing the protagonist sneaking into The Shard at night. The narrative continues with Paris’ anxiety dream of her time working on the Eiffel Shard project alongside another Unrecognisables member who she fears has betrayed them by handing over their dangerous plan to the government.

The third chapter is now being released as an album of new music. In a declining city, Paris and Geneva are tour guides to be followed at your own risk. Lies and petty crimes, mistrust, betrayal and, inevitably, war are the setting in which they seek to devise a plan for resistance. As members of a secret group, they hide their identities and meet after dark. Under dim lights of city streets and closed-down clubs, it’s hard to tell a dodgy detective from an eager philosophy student, friends are enemies in disguise, and it’s advised to park your car sideways for a fast getaway.

On this concept album, Lolina performs the role of both characters, her own voice often made unrecognisable by pitch-shifts and distortion. It was recorded almost exclusively on a Casio SK-200 sampling keyboard boasting 1.62 seconds total sampling time. No beat preset (total of 20) is left untouched, unchopped or unlooped. Not one of the 49 mini keys is idle. Retains samples when turned off.

Cosa Vostra proudly presents the debut release of Arnic's alias: Dead Poets Society. Used by the spanish producer for Bandcamp tracks only, we are now delighted to release Dead Poets Society’s first record, and what a start!

With DPS, Arnic unleashes his darker side, leaning to a more electro-oriented sound. Rolling basslines, hypnotic chords and masterful work on the vocals create a heady groove that will leave no dancefloor unmoved. Long live DPS!

Phyr Records, owned by Pyramidal Decode, is a techno Vinyl/Digital label focused on dark, hypnotic and strong Techno.
The label's name "Phyr" originates from the Greek word "pyro", meaning "fire", reflecting the intense and fiery energy that defines the label's sound.

'Compounds' is the debut release from Pyramidal Decode's Phyr Records.
This various artist compilation kicks off with a thought-provoking and intricately textured track, 'Resistenza', courtesy of Pyramidal Decode himself.

The A2 comes from Spanish Pwcca, label owner of Hardtools Rec. and Inducted Waves.
His track, 'Half Human', is a masterclass in building tension, crafting a sense of unease that's sure to leave listeners on edge.

On the B side, Irazu & Unkle Fon, both hailing from Madrid, bring their unique brand of modern techno to the table with a sprawling and atmospheric track that's sure to get lost in its sonic landscape.

Finally, the B2 is a hauntingly beautiful closing, courtesy of German producer Oliver Rosemann.
His emotive and atmospheric soundscapes provide a moody ending to this exceptional release.

First Cut is proud to release Giles Armstrong's 'The Activity of Sound' EP .

Giles has been a central figure in Dublin's underground electronic music scene for over 20 years. First as a formidable techno DJ, then as one of the promoters of the legendary midweek club Electric City.

The third and most significant chapter is Giles’ emergence as a producer - with his third EP for First Cut bringing this story to life in vivid techno-colour. The sample-heavy 303 rumble of 'Caged' and the driving acid banger that is ‘One Foot In The Rave' are sure to work their magic on the dance floor. The third and final part of this EP will leave you begging for more. With its melodic sweeps and spine-tingling bass, ‘Waldorf Salad’ is a proper end-of-night tune.

This future classic book-ends the latest twist in Giles’ remarkable journey.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

The dance floor is also a space of self-reflection. The A-side is catered by two artists from one of our favorite collectives, De Lichting. With “A Reflection”, RDS opens up and shares a beautifully crafted house gem, providing for a soft and introspective yet groovy “eyes closed” dance. Nathan Kofi takes on the A2 with his unique deep house sound, layering sweet and cinematic synth sounds over an Afro-induced drum sequencing, creating a warm sonic envelope. On the B-side, James Free mixes acid synthesis, roaring bass line, and breaks to create a progressive and subtly melodic dance floor track, one that leaves you positively triggered. With the final track of the record, Rotterdam’s Mata Disk offers a glowing light over polyrhythms and very electronic noises, offering this body of work a deserved radiating curtain close.

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

What lasts a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

REINHARD VOIGT has always placed great emphasis on loving animals. On the track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece either, even if it sounds like it.

We stay in the realm of fauna and turn our attention to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Hallo 24! Schön, dass du da bist. 23 ist ja sowas von gestern, geht gar nicht, echt. Also, bei uns tanzt man neuerdings die folgenden Tänze. Und bei Euch?

Was lange währt, wird meist gut. Schon seit vielen Jahren aus der Ferne TEE MANGO bewundernd, hat sich unser A&R Michael Mayer ein Herz gefasst und ihn zur diesjährigen TOTAL eingeladen. “So In Love” steht in bester Tradition des kompaktschen Minimal Funk der frühen Jahre. Wir freuen uns, den quirligen Engländer an Bord zu haben!

Tierliebe wird im Hause REINHARD VOIGT schon immer groß geschrieben. Auf dem Stück mit dem nicht weiter verwunderlichen Titel “Der, der mit dem Gummiball sang (Orange)” lässt er gleich ganze Horden verschiedenster Vierbeiner und Federvieh ans Mikro. Hoffentlich zieht der Gestank wieder aus dem Studio ab.

Wenn rheinischer Frohsinn auf Urlaubsvorfreude trifft, dann kommt so etwas wie dieses Musik gewordene Hawaiihemd namens “Chee-Caruso” von JÜRGEN PAAPE heraus. Auch für diesen Beitrag wurden garantiert keine Tiere gequält, auch wenn es allenthalben so klingt.

Wir bleiben im Reich der Fauna und wenden uns London’s preisgekröntem Rassehund REX THE DOG zu. “Laika” ist eine herzerwärmende Ode an die gleichnamige Mischlingshündin, die es von den Strassen Moskaus als erstes Lebewesen ins All geschafft hat. Den Bleep hätte sie bestimmt gemocht.

Eine wenig bekannte Tatsache über MICHAEL MAYER ist, dass er zu den schnellsten Kreuzworträtsel-Füchsen links des Rheins zählt, stets in unbarmherziger Rivalität zu Wolfgang Voigt, der sich für noch schneller hält. Der große Battle steht noch aus. Ungebetener Gast mit fünf Buchstaben? “Urian”.

Als fester Bestandteil der Familie darf natürlich auch JONATHAN KASPAR nicht fehlen. “Are You” zelebriert frühmorgendliche Entrückungszustände, wie sie in seiner neuen DJ-Wirkungsstätte, dem nigelnagelneuen Kölner Superclub FI Gang und Gäbe sind. Alles so schön bunt hier.

SASCHA FUNKE verneigt sich mit dem trippy Electrosmasher “The Heck” vor einem der ganz Großen des deutschen Showbiz. Geboren – wie DJ Koze und Barnt – in Flensburg, gestorben 2018 in Berlin, Brillenträger. Mehr wird nicht verraten.

Mehr Gefühl, mehr Liebe, mehr Mitsing-Faktor? Si, claro! ARGIA’s “Love Keeps You Running” vereint meisterlich Groove und Pop – eine Melange, die uns durchaus bekannt vorkommt. Sie mag zwar in Madrid zuhause sein, aber irgendwo steckt in ihr eine Kölsche. Da sind wir uns sicher.

Auf zu den Legenden, den Urgesteinen! JÖRG BURGER zeigt sich auch in 2024 in einem psychedelischen Mood. Das steht ihm, da muss er hin, da wollen wir ihn haben. Es ist ein Paralleluniversum denkbar, in dem solche Musik liebevoll Goa genannt wird.

Der WASSERMANN liest uns vor dem Schlafengehen noch ein Märchen aus Tausendundeine Nacht vor. Wir fokussieren uns gleichzeitig auf einen Punkt zwischen allem, aber auch wirklich allem und dem absoluten, splitterfasernackten Nichts. 3, 2, 1… Loslassen

Headquartered in a broader domain of Mixcult Records, Blackinstock Records focuses on the very first release with "Reel Phase EP" BLIS001, representing the most profound property of Mixcult Records' Black Gold Dub Techno. This great collection includes legendary Dub Techno maestro Federsen, plus the innovative minds of Yagya and Ohm.

Submerge in a sea of minimalism and sonic depth, where every single track is a journey in itself. "Reel Phase EP" is such music, emanating from the very heart of Dub Techno. A lot is vested in these expansive and immersive soundscapes, embracing highly detailed constructions. The spaciousness and depth of this release create an unrivalled listening experience, allowing for a deep dive into the pensive and genre-evolutive nature of this sophisticated kind of music.

Federsen, Yagya, and Ohm blend their different skills in masterly fashion, cooking up something timeless and forward-thinking. Each track is a stamp of class and introspection, hallmarks of the Blackinstock Records label, making this EP a must-have for any Dub Techno enthusiast.

Give a different feel to your collection with this genre-defining release. "Reel Phase EP" BLIS001 is not just music; it's an auditory journey to the very heart of Dub Techno. Make no mistake: this is your chance to get a share of musical evolution – get your copy now and dive into the deeper realm that Blackinstock Records holds in store.

Highly original material on a very limited EP... be quick!

POLYPHONIC WAVES OF SOULFUL MADRIGALS

The power of duality is an inscrutable thing: we’re endlessly fascinated by the interplay between light and darkness, East and West, voice and silence, our senses tingling from the compelling synergies that thrive in perceived opposites. Drawing from an urbane Antwerpian upbringing and a Moroccan family lineage, the Brussels-based multidisciplinary artist Younes Zarhoni, embraces these very dualities in all of his projects, exploring those murky areas of contrast and bringing all their ambiguous energy to crystal clear focus.

A longtime staple of the local electronic music scene with his hypnotic techno outings as YZ, Zarhoni’s latest focus is on the compositional power of pure harmony and silence: namely, his polyphonic renditions of medieval mystical poetry, sung in multiple voices and left to solemnly radiate beyond their given spatial grounds. Stripped of all instrumental accompaniments, what you get is Gregorian chant meets Boyz 2 Men, articulated by the lyrical ineffability of Arabic tongues and finding their rhythm in the silences that act as the juncture between observation and anticipation.

These sparse stanzas tread under an elusive referential threshold, conjuring visions of architecture and archaism, madrigals and MTV, the sacred and the profane ~ ostensibly disparate elements that seamlessly fold themselves into the radicality of the compositions. In these 20 minutes of verse, Zarhoni oversteps the margins of categorization to deliver an immersive story of song, flowing freely and sustaining the arc of the narrative long after it has ebbed into silence.

22 Units Ltd as F*K.

The third highest of the fourteen peaks, Carnedd Llewelyn possibly referring to Llewelyn Fawr - Llewelyn the Great, who had a manor house at Abergwyngregin, however, more probable that it refers to his grandson Llewelyn the Last, who fell foul of Edward 1st , and ended up with his head displayed on a pike at the Tower of London. Thanks England x The cairn referred to almost certainly dates back to the bronze age, and the name Carneddau, refers to the many prehistoric burial cairns found high up in the nippi peaks.

Mountain peaks and foregone legends aside - let the music tell another story… one of advanced dreamy electronica inviting Argentinian Luis Luchetti to the rucksack club with 2 slices of ultra squelchy hypnotic dream nip and the flip from long-time friend Richard Rozen giving us his deep bass tribal jams - these 2 secret artists are for the fans, for the heads and we’re extremely proud to present 3000.11 - volume 11 of 14 highly collectable records from the NiP headquarters pressed on ridiculously naughty transparent violet vinyl!

Einer der größten Club Hits aus dem Jahr 1999 jetzt wieder als 12“ Vinyl erhältlich: „Arabian Pleasure“ ist eine Gemeinschaftsproduktion der beiden italienischen Kult DJs Mauro Picotto und Mario Piu. Die farbige 12” Max Single enthält neben 4 Original Mixen aus dem Jahr 1999 einen neuen Remix von Karl8 & Andrea Monta.

ARR049 Brizman - Tomorrow Is A New Day Craving for that perfect serving of benchmark minimal house with a flavor of psy-chill and euromantic? The Kyiv based vinyl label Artreform Records is ready to treat you to a tasty new EP by the long-established chef Roy Brizman. His new release, Tomorrow Is A New Day, looks well-prepped for repeating the success of Midnight Tales, the previous Artreform offering by Brizman from 2021. Brizman is a star of the Israeli electronic scene. Roy is also known as Gel Abril in Tel Aviv and far beyond. He has been in great creative form lately, releasing many new tracks and remixes his latest twist on Depeche Modes Policy of Truth" is just one example. Roy offers three new tracks in one sitting this time-a triad united by an overarching mood and atmosphere. It's the perfect soundtrack for diving deep into your feelings and thoughts right on the dance floor. The producers signature micro-house groove is so clear and transparent that you can hear the distant echoes of past electronic music-from New Age to Balearic. The release concludes with the lead track remixed by the ro-minimal star Floog. This gifted producer is alternatively known as George G-a member of the Premiesku project, which also includes Livio and Roby.

‘Vulnerable’: a champion of Broken Beat and Garage, offering a distinct and uplifting arp that sits on the warmest of bass lines and the coolest of beats. One for the radio, dancefloor, car or just about anywhere else.

‘Tuesday’: Hammered keys, rusty nails, 808 beats and crafted tech noise help hold together this strange piece of clunk funk which knocks and thuds its way through the unsettling but subtle groove all the way to the end.

Die dritte LP des Ishmael Ensembles, "Rituals", stellt eine bedeutende Entwicklung für die Musiker aus Bristol dar. Mit Live-Instrumentierung und elektronischer Stilverschmelzung war die Band schon immer breiter aufgestellt als das Etikett "New UK Jazz", das ihr gegeben wurde, aber hier sind Umfang und grenzüberschreitender Ehrgeiz deutlicher als je zuvor. Obwohl das Ensemble seinen Mix aus spirituellem Jazz, Dub, experimentellen und elektronischen Klanglandschaften beibehält, werden diese Elemente hier kräftig zu riesigen Soundyklonen aufgepeitscht, die wesentlich songbasierter und zugänglicher sind, aber auch fast psychedelisch in ihrer wohlklingenden Mischung aus Farben und Texturen, Facetten und Stimmungen.

Repress!

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

We are ecstatic to announce the fifth release on Cupula Recordings, featuring the powerhouse collaboration of Nuclear Waste and Corp. This release infuse the best elements of New Beat, EBM, and Synth Pop into a cohesive narrative.

“Nuclear Corporation" is an auditory explosion defying genre conventions.

Luis Malon, dropping a super groovy track with a heavy kick, bass variations, and killer melodies perfect for the dance floor. His second track brings darker vibes, break dance variations, and well-crafted bass and melodies.

For the flip side of the record, Omar (UY), who's already dropped some heat on the label, is back with two tracks. The first one hits you with some bass variations and hypnotic vocals, plus some slick drum work and background melodies. The second one is a tool track with dark sounds.

In Mr Bongo’s opinion, 'Imprevisto' is one of the most unmistakable Brazilian jazz records ever made. Dramatic intro and hypnotic piano line, decorated with panned percussion before the hats come in. Then the upright bass. A true classic.

Bossa Três formed in 1961 in Rio. They spent most of their early years touring jazz clubs in the USA, before the original line up and their pianist (and perhaps most well-known band member) Luis Carlos Vinhas, returned to Brazil. This is the final track on their Em Forma! LP from 1965, released on Forma. The original pressing of this Brazil 45 was the first time ‘Imprevisto’ had been released on a 7”.

We know very little about Ana Rosely. She released four 7” 2-track records between 1975 and 1984, the latter featuring the brilliant ‘Skim Dum Dum Dum’. The original version was released by RGE Discos in 1984, which came as a surprise to us given the sound. It is very difficult to find an original copy in good condition and they are, as ever, increasing in price.

For our 8th EP we bring you fresh works from the Dominican producer Log_In. He’s released on underground staples such Dance Floor Rituals, Art of Dark, and Partout, always delivering his own take on modern italo-disco infused techno music.

Gamine’s own Christian ties the EP together with a slick remix of the B1 track. Slightly more minimalistic than the original, this track is suited for any point of the night.

Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flügel and Nathan Fake.

Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more.

The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss.

First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track.

Roman Flügel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

fabric Originals is proud to announce the release of the highly anticipated collaborative EP by Irish-born DJ, producer, and label owner Mano Le Tough, one of the most celebrated names in underground house and techno, and electronic musician and DJ Perel—who was the first German artist to sign to James Murphy's seminal dance-punk label DFA Records.

This EP marks the second release in the label’s new series, 'Future Memories,' which pairs together a legendary producer with new talent to create groundbreaking music that bridges generations.

The 'Future Memories' series is fabric Originals' latest initiative to celebrate the legacy of electronic music while paving the way for future innovation. By pairing seasoned veterans with promising newcomers, the series aims to create timeless tracks that resonate across generations. Mano Le Tough and Perel comes hot off the heels of our 1st release – by UK Garage royalty MJ Cole and rising UK techno X Dubstep producer and one half of Wisdom Teeth, K-LONE.

2024 Reissue

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Polish multi-instrumentalist and prolific producer Charlie lands on Wrong Era with her earth-shattering EP 'Spacewoman'. As a revered live act and spearhead within the Italo-Proto scene, Charlie’s record is a testament to her unique and impactful sound design, which is on full display in her thunderous progressions.

Having garnered a following with her DJ and live performances at some of the most influential clubs in Europe, the record sees the Polish producer integrate her infectious rhythmic flair into another standout release, capturing the consistently mind-opening energy of her live sets and hooking us in with potent synth lines and vocals.

Soela is the DJ and production alias of Elina Shorokhova, a Russia-born Berlin-based experienced pianist and vocalist who has made a hugely impactful transition into electronic music. Having released material on such labels as Kompakt, Dial, Shall Not Fade, Lost Palms, E-Beamz, Red Ember Records, Sushitech, and others, Soela joins the ranks of Scissor & Thread for this exquisite album - Dark Portrait.
The album opens in a typically understated manner with Unsuitable - a melancholic trip-hop adjacent track that sets the tone for the next 8 pieces. As Soela explains, “I was dealing with some very complex feelings, so I came up with this album, which helped me not to despair, to work on myself, to grow internally, and to start listening to myself. It helped me to keep sane when my country invaded Ukraine with a full scale war. It absolutely broke my heart, and music was one of my main salvations.”
This complex mix of emotions plays out across the album with tracks that utilize her beautiful musicality (Through the Windows feat. Francis Harris and Philipp Priebe, Drowning feat. Module One) and ear for details with skittering beats, ambient soundscapes (Spirits, Lost In The Fog) and lose-yourself dancefloor moments such as the collaboration with Lawrence on February Is Not Going To Be Forever. The title track Dark Portrait combines dubby elements with affecting pads and melodic touches, while the lead single Even If I Ask You Stay delves into multiple feelings around escaping toxic situations, and battling depression. It features a powerful vocal from Soela supported by a deeply affecting arrangement. The closing track The Darkest Hour Before Sunrise brings a sense of hope and light, balancing subdued keys and strings with ethereal tones and atmospheres

EDIT & DUB diggin deeper to provide us Vol. 2 in the rarest of the rare series. Expect the unexpected alongside the unreleased disco versions we've come to love. Limited press, colored vinyl. Paper Sleeve. Don't sleep!

DJ Support: Louie Vega, Ralf Gum, Jihad Muhammad, Zepherin Saint, Mr. V, Doug Gomez DjPope, DJ Beloved & Brutha Basil to name a few.

Sean McCabe’s Good Vibrations Music label opens the vault doors for a peek inside some of its closely guarded & much-loved releases courtesy of this special limited edition 12 inch. Featuring 4 new to vinyl releases & including a raft of luminary names from across the soulful spectrum this is sure to be a be a hot fave with long standing fans of the label.

Glenn Underground’s Jazz-Funk fuelled rework of 'This Place' kicks things off and needs no introduction… heavily supported & much loved through the soulful circles & beyond with the likes of Louie Vega, Dave Lee, Jimpster, Jamie 3:26 & Fred Everything (to name a few!) all loudly banging the drum – people have been clamouring for this to be on vinyl. You spoke, we listened!

Up next is 'Modulate', a collaborative force of the highest order between Sean & long-time friend Black Sonix. Expertly fuzzying the lines across Deep, Soulful & House is somewhat of a speciality for the duo respectively and there’s bags of all 3 intertwined throughout alongside a hefty sprinkling of sun-kissed, Latino-inspired pianos.

'Still Standing Here' kicks things off on the B-side and begin in March 2022 as vocalist Madeeha recorded an accapella vocal idea in a phone voice message, quietly singing into her phone to avoid waking the neighbours. She sent the idea to drum & bass producer from Bristol, DJ Mixjah, who then approached friend Sean McCabe with the idea. Together they produced a hypnotic afro-tinged soulful backing track to fit with the voice message, with an intention to re-record it in a studio environment. Sean and Mixjah soon realised that the music they had created blended perfectly with the sincerity, intimacy & rawness of Madeeha's heartfelt performance in the original voice message and decided to stick with it. A firm fave for Atjazz, Crackazat , DJ Spen & Emmaculate.

Wrapping things up is 'You Don’t Know', a slick & energetic dancefloor bubbler from London based producer/DJ ‘David Bailey’ and Canadian soulful songstress ‘MissFly’. David Bailey is a firm favourite amongst the London house music community. He’s produced standout releases on labels such as Idris Elba's 7wallace, Makin Moves, Good Vibrations Music, Rhemi Music & Unquantize. MissFly is known for her soulful serenades and ability to write songs 'on the fly' in the studio. She has carved out an impressive discography on soulful house nuggets such as '1972,' 'Wanna Love You' and 'Thankful'

This project in a “12 inch form has been created to push the talent of the students from the online music production courses of Alex Font. Giving the students the first chance to sign a record on their names and got fully promoted under the Acmé branch.

Here you can listen to a variety of sounds that we are sure will fulfill different scenarios or set time of your forthcoming performance.
AF MPC (Alex Font Music Production Course) goes live online weekly • if you want to be part of the group just go to the IG page for more info.