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The new Outplay release is by young and upcoming dj/producer Cleanfield, or 'Jelle' as his mom calls him.
Hailing from Arnhem, the Netherlands, it's always great to see another talent pop up in the Dutch scene!
He has made three super catchy tracks for us, perfect for the summer season!

First up is the title track 'Haute Cuisine', warm bouncy bass topped with a super infectious lead melody and percussion. If there is a track more suited for the festival season it's this one for sure!
'Hot Wheels' races on with a deep rolling groove, fuelled by wah wah rhythm guitars, warm synth chords and arpeggios.
'Conflict With Clayton' brings another solid groove to the table with scattered vocal samples and multiple synth layers. Scorcher!

So imagine dancing your ass off to this EP in the sun and feeling fantastic, we sure are!

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Raar brings his fifth release through his creative outlet Vaerel Records. The four tracks EP comes with his signature approach of combining gritty techno with a sense of restrained melody inside. With this in mind, the record would definitely bring some intensity at a warehouse's darkest hour.

Reinhard Voigt returns to his own label KOMPAKT with another episode of satiric techno to enlighten today’s current trend of deadpan dance music. Since the 1990’s, Reinhard has brought an unparalleled spirit into the techno scene through outrageously energetic live shows and the many releases under alias such as SRI, Pentax plus of course his ongoing collaboration Voigt & Voigt together with esteemed brother, Wolfgang Voigt. Reinhard embraces all that wildlife has to offer with “Was wir spüren”. Starting things off with the future afterparty anthem, “Das singende, klingende Ding” the bass drum is there to guide the lost and found through a voracious bee storm as the rooster crows gloriously towards duck quacking oblivion. “Tausendmal zu viel” fits perfectly as the soundtrack for to the artwork created by Mareena von Cube – a tormented hymn loops its way to the warriors of the never world. “Der Mann, der nie nach Deutz kam” is classic Reinhard Voigt techno at peak-time point. A throttling bass drum is voraciously fuelled by the jungle twilight.

Groove Line Records series of officially licensed disco / funk 12' reissues continues in 2019 with two fabulous cuts of gospel disco from The New York Community Choir (NYCC), 'I'll Keep My Light In My Window' & 'Express Yourself'.

The New York Community Choir (NYCC) began in the early 1970s, a gospel ensemble which developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

'I'll Keep My Light In My Window' is a slice of joyful uplifting gospel disco, which is as needed in these times as it was when it was released in 1978. This was a great favourite of David Mancuso and Larry Levan at the time, and has remained a much loved dancefloor track for the disco cognoscenti ever since.

This came from NYCC's second LP for RCA, Make Every Day Count, produced by Warren Schatz (who also produced The Brothers, which was Groove Line's first reissue 12' in 2014).

NYCC released a self-titled debut album, also produced by Schatz in 1977 included the dance hit "Express Yourself," the B-side of this release in its 11m45s David Todd & Warren Schatz Disco Mix version.

All Groove Line Records releases are fully licensed and taken from the original master tapes, this 12' has been remastered and cut at half-speed by Matt Colton at Alchemy Mastering (Mastering Engineer of the Year 2013 & 2018). All vinyl is heavy weight 180g manufactured Optimal Media in Germany, one of the world's finest pressing plants.

Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

Groove Line Records' deluxe reissue of 'I'll Keep My Light In My Window' & 'Express Yourself' is an essential purchase for any serious Disco, Gospel, Funk, or Soul vinyl collector who demands the very best in quality vinyl pressings. Find out more at

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Architectural returns to Wolfskuil Records with 4 exceptional cuts on his 'Beautiful Life After Death' twelve inch. Complex sound design and a warm and open atmosphere go hand in hand with the Spanish studio wizzard's sonic world. From lush ambient in the title track, the addictive groove in 'Piedras' to wobbly modular bass excursions in 'Luminous Path' and moody textures from the abyss in 'Gris'. Architectural covers a lot of ground in just 4 tracks. Diverse and coherent at the same time, few artists have such a recognizable sound signature as the Barcelona artist.

The Juan Maclean Returns To Dfa With A New 12" - Last June's Electrodisco "what Do You Feel Free About" Backed With "zone Non Linear,"
Which Evokes Early Pet Shop Boys. As Usual, Juan's Sunny Productions
And Nancy's Layered Vocals Come Together To Lend A Maximalist Warmth
To The Dancefloor. Man Power (esp Institute, Correspondant) Gives The Aside A Club Rework With A Dubbed Out Vocal Arrangement That Adds A
Touch More Drama To The Track, While Massimiliano Pagliara (ostgut Ton,
Robert Johnson) Revitalizes Tropes Of Old-school Piano House.

CTHI Records is back again after a little pause given by the development of the Jaxx Madicine project started initially by the label founder Parker Madicine and Turbojazz. Through out this time the label has productively been joined by Veezo, italian pianist and producer, for the making of their Distant Classic album and various EP’s and remixes published on many different international labels as Local Talk, Visions Rec, Dirt Crew and Eureka. CTHI is now ready , after the recent Japanese tour as Jaxx Madicine Trio, to be again the front stream for the debut EP of Veezo ‘Monolith’. An 8 tracks EP playing the essential “manifesto" and inspiring heritage of the artist. Raw and dirty grooves made in 12bit res, tape delays and acid Ms20 arps on top of which you’ll appreciate afro elements, warm rhodes and pad chords allowing you to perceive the whole Veezo musical ambient creativity. Two singing tracks - unique featurings by David Shorty and the Technoir Duo - are providing deep house/boogie atmospheres and jazzy spiritual moods. There are various musicians participating into this project leading through bass, flutes and drums that will surely provide you the feeling of an orchestral setting guided and directed by a solo person inducting all those elements through an Akai taperecorder. The result: close to a mid 90’s forbidden cartoon enriched by the cover of the Japanese artist Tokio Aoyama.

“Introducing COSMIC RESIDENTS v. 1, the first in an ongoing compilation series from Cosmic Resonance Records. This series will showcase emerging talent from Toronto’s underground creative electronic music scene.

This first edition features local favourites and Cosmic Resonance residents Radiant Aura Faculty (aka Raf Reza), KOREA TOWN ACID and Hemingway along with (and making their vinyl and Cosmic Resonance debut) Body Butter, WeTurnToRed and Smoke & Shadows.

On the A-side, Hemingway kicks things off with Astralnauts, a deep, dubbed out boogie breakbeat burner dedicated to explorers of the astral plane featuring fellow label don Chris Evans on rhythm guitar. Radiant Aura Faculty (aka Raf Reza) takes us even deeper with the mystical 'Cid Pit Riddim', a slamming 707 acid bender sure to melt any dance floor. Things get slippery with Body Butter’s debut single ‘Lights In The Hallway’, a timeless operatic pop opus featuring Neil Rankin (aka Burt Sugar), Chris Evans (aka Mr. Bliss) and Hemingway behind the board.

On the flip side, things heat up with Shamanta Chandran’s project WeTurnToRed (recently releasing their debut EP on ORO Records), featuring the progressive modular techno odyssey 'Warm Winter', an escape from Toronto’s long and tumultuous blizzards. Emerging from the Mahogani Forest, Korea Town Acid reinterprets Hemingway’s emotional ode to the jazz aesthetic 'Blue Notes' with her trademark cerebral rhythms and a masterful bassline that elevates the original to new heights. Closing it off, we have an amazing collaboration between Curtis Clark (aka Smoke of Lab.our Music) & Em Zy (member of Nikki Fierce) called Smoke & Shadows with their stellar debut single Convincing Thoughts that features Em Zy’s hazy vocal emanations amidst a backdrop of mystical reverberations and a dark, powerful groove.”

A new addition to the label’s extended family, Tracey arrives on Dial with his debut LP, Biostar. Following previous releases on Aus Music, Voyage Direct and Intergraded, ‘Biostar’ pushes the technical and emotional craft of this vital young producer in exciting new directions, submerging listeners in thirteen tracks of sublime electro, ambient experimentation and warm, tonal techno. Based in the Netherlands, Tracey’s music is undoubtedly indebted to a legacy of emotive electronic music, the sort whose stark futurist vision cannot be equalled. Instead he strives and succeeds to create something personal and charismatic from a perhaps familiar palette of sounds. Somewhere between experimentation and understated songwriting, ‘Biostar’ is a worthy edition to Dial’s legacy of unique, artist-led albums. In the tradition of established Dial artists such as Lawrence, Roman Flugel and Efdemin, Tracey’s immediately apparent strength is an almost supernatural ability to conjure affecting and memorable melodies with minimalist intent, often just utilising the raw textures of his machines. From album-opener ‘THRRVL’, Tracey tracks the initially gentle undulations of his studio seemingly waking to life, plotting a neat melodic shuffle on ‘TRR’ and then, by, ‘CCLRT’, something dense, trippy and yearning. From hereon in, ‘Biostar’ plots an intriguing course through hypnotic, clockwork crunch (‘THWRD’), to Drexciyan submersion (‘HDRCSTCS’) and rhythmic experimentation on ‘PHTCPHRK’. Some of the more affecting moments on ‘Biostar’ emerge from it’s more obtuse sections; ‘DTFNK’ deciphers a surprisingly catchy melody among waves of scrambled signals, while the initially skittish ‘DRMRBT’ blossoms into an electro lullaby at 126bpm. By the arrival of wistful closing track ‘CLSTLBNG’, listeners are likely to emerge content from the deepest exploration yet of Tracey’s unique analogue ecosystem.

After some releases from stillove4music and Razor’N’tape, Monchan is back on his own DS Records imprint to bring you “East Village Edits 5”; packed with 4 major dancefloor bombs.

A Side 1st track is a warm and funky female vocal disco that will “Break your Heart”.
Everybody will get to “Feel the groove” of the 2nd track.


B Side 1st track “Party Down” is a simple groovy loop with synth and vocal that will elevate you to the peak.

2nd track of B side "Can’t lose this feeling” is the Monchan speciality, a dollar bin record edit. He polished it off to get the dancefloor moving.

Kalim Shabazz looks to find common ground between the old and the new. Electronic music with a soul. Organic electronic music that moves the dancefloor in a new, but not unfamiliar, direction…

This 3 track EP with keyboardist Jerrell Battle signify the true organic deep house vibe with "Bassic" a deep melodic journey with guitar riffs that moves you. On the flipside "Dana Byrd" beautifully demonstrates the power of the voice as "She" is dedicated to the most important women in our lives. Delivering that true NY Soulful vibe you would hear at the Shelter. Lastly "Sound Module" finishes the record with straight deepness.
Shabazz a true Brooklyn native, made his mark in New York in 1993 with his legendary Afterlife party with Kim Lightfoot. Since the early 90's Kalim has been working with partner Nick Jones; recording history together with their first release, “Wake Up People”, on Bobby Konders’ Massive B Records which featured Satoshi Tomiie & Cassio Ware. Shabazz and Jones continued this partnership under various studio monikers including ‘Moments of Soul’ and ‘Soul Movement’ with releases on labels like Wave Music, King Street Records and Shelter Records. The rest is history!

170 bpm halftime dubwise style. Heavy basses, deep subs, breaks and reggae vibes sums up this hard hitting single by Champion Sound called "Warn Dem". With this track the trio makes their debut on the Dub Communication imprint. On remix duties we also welcome Halcyonic and G Roots to the label. Together with horn player Vale they twisted the original to a great remix for the B-side of DUBCOM005V.

* Version excursion on Partial's rootsy `Free Again' rhythm, featuring Amelia Harmony, Jah Marnyah - both based in the UK, Berlin-based rising star Saralène and Partial Crew aka Liam Partial.
* As well as the three vocal cuts, the 12' includes three dub versions.
* Produced by Liam Partial, and mixed by Dougie Wardrop at Conscious Sounds studio, London.
* Other cuts on the `Free Again' rhythm appeared on the 7' (PRTL7064) - Ital Horns - `Remains Of The Day'.

Margino (real name Kim Kallie) is a South African artist. She recorded her first song
at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She
sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and
later did backing vocals for Future and others. She first shot to fame as a solo star
with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as
Cathy Hudson), which was released at the same time as Madonna's version.
Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My
Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She
now runs a Performance Academy from her studio, and continues to perform on
stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy
People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm
Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'',
''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk
(Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full
album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original
tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art
style, for your eyes pleasure.

Renato Ratier is one of the most important names in Brazilian and South American electronic scene not only as the creator of the d-edge club and partner of Warung club, two of the world's leading electronic music clubs. As a producer and citizen of the world, this time the artist found inspiration in the middle of the Atacama desert in Chile during a trip to a gig in that country. Definitely, the vibe and atmosphere of this unique place, suggested to Ratier a track full of personality as well as his work as a producer. While working on his new album, Ratier offers us a precious and pulsating track, with a striking square bassline and a hypnotic line of chords and synths. To complete this special package, Ratier invited two of the most important djs and Brazilian producers to bring their remixes.Ney Faustini and A.84 with their brilliant jobs.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

Over two years in the making, 'Talisman' is a retrospective and re-interpretative celebration of the work of American musician Robert ÆOLUS Myers. Touched first by the emotional depth of the music, and subsequently by the warmth and wisdom of the man, Origin Peoples sought to capture a snapshot on this special vinyl release.

This newest chapter of the ÆOLUS myth seen for the first time on vinyl are five of his most expressive pieces, alongside a quartet of remixes by kindred spirits from all corners of the globe. This is the first time his music has been interpreted by others, and Robert's delight at the result speaks volumes of his adventurous and open-minded attitude. Approaching the often intangible new age genre with a humanist approach, Robert creates immersive and expansive pieces which connect with the listener on a spiritual and emotional level.

Archetypal narratives are retold through nuanced electronics, evocative motifs and empathetic flute, the varied compositions informed by Myers' classical training, spiritual pursuits and study of ethnomusicology. Part retrospective, part remix project, 'Talisman' is the perfect reflection of Robert ÆOLUS Myers, a musician whose timeless expression of theme and emotion has enriched minds, bodies and souls for almost 40 years.

Beat Bronco Organ Trio play Soul Jazz, the sound of the 60's popularized by artists such as Jimmy Smith, Grant Green, Jimmy McGriff and Reuben Wilson. With a warm and solid sound, the Madrid combo breaks into the scene with a groovy funky 45. The Mid-tempo Jazz Funk cut "Easy Baby" on one side and the dancefloor burner "Geriatric Dance" on the flip. Soon on a turntable near you.

Gabri Casanova, Hammond.

Lucas de Mulder, Guitar.

Antonio "Pax", Drums.

Recording & Mixing - Santi "Sweetfingers" Martín.

Mastering: Victor García.

With their latest 'International Disco Mafia 2' release getting love from the likes of Marc Grusane and Jacques Renault, these Dublin based modern discotheque messers are on a roll.

Their latest sees Yorkshire based machine squelcher Perseus Traxx coming heavy on the A side with 'Pump It', which grinds a crashing jack track in and out of some choice disco snippets to create a relentless floorburner for 2019.

Sir Leon Greg is another of the Traxx-man's many pseudonyms, and 'Shakey' is an acid house tinged makeover of an old Northern Soul classic he made a few years back.
Fatty Fatty head honcho Pablo supplies his 'Warehouse Mix'Â of the track, which strings it out into a wild 10 minute trip that teases and caresses you before the strings and that chorus send you over the edge completely.

Last but not least, 'Last Days' will be, to some ears, the pick of the bunch - a rich, ever circling slice of funked up house music that will touch you in all the right spots, rounding off the package in some style.

In 2017 Blair French came out of hibernation to release contrasting but similarly sun-kissed EPs on Rocksteady Disco and Claremont 56.

Here, he returns to action with a scintillatingly sunny and sensual six-tracker on NuNorthern Soul that may well be his strongest release to date.

Given French's chameleon-like musical history, that's certainly a bold claim.
Over the years, he's been a member of a multitude of musical collectives - most notably Cosmic Handshakes and Formless Figures - established his own DIY record label (Fat Finger Cosmic) and released music that touches on a dizzying array of styles, from award-winning movie soundtracks and Afro-fired deep house, to skewed techno, blissful ambience and experimental hip-hop.

On Patio Pastel, French is in full on sand-between-the-toes Balearic mood, delivering a range of lucid, ear-pleasing compositions that will sashay their way into your consciousness.
Contrast, for example, the drowsy organs, glistening pedal steel and undulating hand percussion of opener 'Patio Pastel' with the Serge Gainsbourg style chanson-goes-tropical bliss of 'La Playa De Tercipelo', which features some deliciously breathy vocals from Stephanie Lyon.

Then there's 'Morning Sail', a sumptuously evocative soundscape rich in toasty, dub disco bass, shuffling percussion and lilting, Jonny Nash style guitar solos (see also the effortlessly horizontal Lounsbury Gardens'), and the kaleidoscopic, saucer-eyed Balearic pop brilliance of ;'Human Make Human', where new age synthesizer melodies and the fuzzy vocal refrain of Kasi Seguin gentle dances above an Afro-flecked, mid-tempo groove.

Throughout the EP, French mixes electronic and acoustic instrumentation, drawing together musical elements from a myriad of styles to create sumptuous new fusions.
It's particularly evident on superb closer 'Belle Isle Sunsets', where colourful synth motifs, eyes-closed guitar riffs and Mediterranean-warm chords wrap themselves around a gently pulsating, impressively layered groove.
Like the rest of the EP, it's perfectly pitched, expertly executed and wonderfully atmospheric.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

Vactrol Park, the collaborative endeavor between Kyle Martin (Land of Light) and Guido Zen (Brain Machine), returns to the ESP Institute with II, rounding out the second half of their EP series. For this installment, a sojourn was made to Stockholm to record at the computer music mecca, EMS (Elektronmusikstudion), where the artists had the opportunity to experiment extensively with the legendary Buchla 200 Modular and Serge Modular, two of the rarest and most pornographic modular synthesizers in existence. While both instruments originate from California (Buchla in Berkeley as a commission from pioneer Morton Subotnik, and Serge at the California Institute of the Arts), the music Vactrol Park draws from these machines is far from warm and sunny. Akin to their predecessors on the 2015 debut I, these works materialize a level of taste and measure of craft that's unattainable by most, each retaining an individual cinematic approach yet working collectively toward one consummate goal—paralysis.

Originally released in 1993 by Hani AlBader on his first label Super Doppler Communications. It was primitively programed on 8track sequencer then recorded on a 4 track tape machine in his spare bedroom studio in Denver, Colorado. Only 300 hundred copies were pressed initially. It was not an easy record to sell to distributors at the time due to the various genres & sounds on it. Mailed out few promos to a handpicked list of names. One of them was dj Dubfire whom at the time was starting as Deep Dish. One morning in spring of 93' Hani received a phone call from Ali Shirazinia aka Dubfire who was full of compliments & requested similar tracks for his label.26 years later Hani's name became internationally known & till this day continues to produce & remix under many aliases while running his own label Soterios Records. In 2017 Hani started receiving several purchase requests from seekers of this record. Thanks to Discog they were able to find out who to contact.Jeep Warehouse Beats Vol:1 is now in high demand among techno / rave fans and some deejays are offering up to $110 per copy. Unfortunately it's out of stock. Due to the serge of interest by deejays and collectors, SDc is back! Repressing of this highly sought after piece of vinyl are ready to ship. Hani have also found buried deep in the vault an unreleased Jeep Warehouse Beats Vol:2 plus an extended version of the mainly requested track 1 on B-side called Vector Selector that will be released on future Jeep Warehouse Beats Vol: 1.5 with some help from Synchrophone in France.Here's a quote from the info sheet included in all promo mail-outs back in 1993. 'The Super Doppler Communications laboratory is the brainchild of Hani - technics technician extraordinary Hani takes no shorts on the beats. He deals with compounds and elements from the periodic table of dance. House, techno, trance, garage, and funk groove can be expected to oose from the test tube. SDc has been experimenting with the innovative styles of Burrito revolution, veggie tracks and the erotic magic of Miles Blacklove. SDc is a mile above sea level. All music is the property of the universe. Adults need not be present during lab because they just would not understand these

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega! These are dub-plate mixes of tracks from various Alpha & Omega albums. Volume 2 was originally released on CD in 1997. "We have always done alternative mixes for sound systems. This is Alpha & Omega's second volume of dub-plate mixes, normally only available to soundsystem operators."

Debutant Dextre arrives on Echovolt with Sleep Axis, a fine first outing whose four ear-catching club cuts beautifully blur the boundaries between dreaminess and restlessness. It's a set of tracks tailor-made for the early morning hours, where wakefulness and insomnia often battle for supremacy.

The young Warsaw producer's debut is confident and quietly impressive, offering a quartet of cuts that wrap alien lead lines, intergalactic electronics and drowsy, occasionally spacey chords around machine grooves and thickset synthesizer basslines that variously draw influence from deep house, electro and Motor City techno. For proof, check the spacey dancefloor warmth of '128 Organs', the weighty, bleep-sporting shuffle of 'Napoleon' and the rushing positivity of 'Nobilis', whose sun-bright lead lines are more playful than a toddler on a sugar rush.

Previously unreleased. Webster Station was a demo session recorded for Warner Bros. in 1979. The demo was rejected for not being 'mainstream' enough for their label and the tape remained in an A&R office for over 3 decades. Family Groove has faithfully restored the original tape for release on limited edition vinyl. 300 copies only.

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

Emotional Rescue announces the second EP of music from one of the label's favourites as part of a non-defined series where two of their (un)classic songs are remastered, reappraised and reinterpreted with new versions by a contemporary artist for reinterpretation today.

Thomas Leer is a respected and revered musician in both experimental and electronic circles. Having moved from Scotland to London in the late 70s, he moved away from playing in punk based bands, to debut his self-financed 'Private Planes' 7" in 1978, before releasing the cult-album 'The Bridge', with Robert Rental, the following year.

Signing to Cherry Red, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with Saving Grace from the latter, a long famous "Cosmic classic"; it's mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.

This is backed with Tight As A Drum, a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.

Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

Warehouse Find!

Danish producer Paxton Fettel joins Delusions for his debut EP for the label entitled Night Waves. Despite his youth, he has notched up an enviable catalogue of original, eclectic releases including two LP's for Greta Cottage Workshop as well as EP's for Plumage, Kolour LTD and Apersonal. Paxton's unique sound and audiophile approach to production has led to remixes for Uffe on Tartelet, Chocky on Secret Reels and most recently Sunrom on edgling vinyl-only label The Bricks.

For his Night Waves EP we get a snapshot of the mans diversity across three original tracks. The opener sees Paxton in his most raw, jacking, dance oor focussed mood to date and the result is a high energy house track which punches hard on a big system. Featuring his own bass playing, snipped and squeezed through the sonic mangle, Night Waves steams along with big bold pianos, swinging hats and just the right amount of oating synths. Simple elements which combine to be so much more than the sum of its parts and one of those stand-out cuts that will be stuck in your head long after you've left the danceoor.

Flipping over we have Paxton going full-on jazz mode in Pacica 399 To Freedom. A track which once again has his beloved Sandberg California live bass part pushed to the fore, pianos, strings and synths building around the driving disco groove. Feel-good sunshine vibes oozing from the speakers as little melodies dance around the sizzling hi hats and encompassing pulse of the kick drum.

Finally we have a deeper note to close on with It's Clear. A repeating vocal hook runs throughout the intro while intricate drum programming gives a nod to the sounds of broken beat and live jazz sensibilities. The end result is a warm, loose and dubby jam which completes the package in ne style and leaves us looking forward to hearing more from this talented young producer from Copenhagen.

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

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

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

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

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

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

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

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

Cryovac Recordings is a collection of artists with a personal style that bleeds through their work. Cryovac artists have a relentless energy and passion for the music called techno. They are warriors with a clear vision and discipline on a course that is their own. The Cryovac crew believes in the vinyl record and has always been drawn to its’ unique quality it gives to sound. This e.p. celebrates the record shop, a crossroads of ideas and inspiration, where connections are made solid in the unity of the underground.

Rebecca Goldberg twists the 303 around a relentless 4/4 groove that evolves tweaks and pops into a sonic neurosis. Her yin yang approach applies a smooth steady delivery moving parallel to a raucous funk. The collaborative effort of Andy Garcia and Mike Kretsch produced a techno with moody rises and falls, stark kicks, and eerie effects held together with heroic energy. Toms and knocks, digital barks and farts, random clicks and ticks all fall into a galloping composition.

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.