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'Jump Trax' is another essential piece of early Chicago house music crafted by the legendary Duane Thamm JR back in 1984. Fusing together a myriad of influences including early 80's Euro pop, Italo Disco and HI NRG, Thamm JR was responsible for helping create and influence the burgeoning House sound that would emanate from the city all throughout the second half of the 1980's. Not only were these sounds new and fresh, they were experimental too, 'Jump Trax' sees the BPM's gradually shift throughout the duration of the tracks seamlessly giving the more adventurous DJ's out there more ammunition and room to experiment with styles and BPM's. A truly visionary approach to production and all recorded and mixed within Chicago's city limits by Thamm JR at his Reel To Reel Studio located in Villa Park, Illinois. 'Jump Trax' continues to be as influential today as it was back in '84, with many top DJ's still citing the record as a 'go to', powerful indeed.

Chicago's Still Music are proud to present this fully legit, remastered and repressed piece of Chicago house history. A truly pivotal record now made available again for 2018. Essential sound for those who love the real deal - snoozing not advised, OG copies of this monster are hard to come by!

The fourth instalment of Moxie's compilation series is back, presenting this exclusive 4 track vinyl sampler thoughtfully curated line-up of artists. Featuring friends of On Loop, up-and-coming producers and prominent names alike. Stepping up to open this 12' sampler is The Maghreban, adding his trademark touch to an off-kilter remix of Steve Spacek's 'Gimmi Da Love'. Lisbon's Violet is up next, laying down her energetic signature breakbeat sound on 'Antifa Beats'. Flipping over, the B-side begins with Nathan Micay's infectious builder 'Basic Plumbing', paving the way for Louise Chen's 'Reach (Raw Mix) a solid house number. On Loop has continued on a straight upward trajectory since it began, with 2017's Volume 3 securing a nomination in DJ Mag's end of year awards for Best Compilation, and the imprint earning a place in Mixmag's 20 Best Record Labels of 2017. As the label steps things up, so does Moxie's NTS radio show, now moving to a weekly slot and cementing its place as a staple dance show for the station with regular parties at Manchester's Soup Kitchen, Edinburgh's Sneaky Pete's and London's Pickle Factory. With an international tour to be announced this year, things are just getting started for the DJ & Radio host.

A A1 | Steve Spacek - Gimmi Da Love (The Maghreban Remix)

While we are constantly flooded by disco edit nostalgica (nevertheless we already have some edits in the pipeline too - muhaha :), eurokrise news and nuclear gameplay from Donald and Kim, this twotracker by scharbatke gives you the real deal. Beautiful sundrenched original house music for your feet and soul. If this is not soo glad then cut us an arm. PS. Main Instrument used for this release : Yamaha PSR-36 for - LoFi-Deep House-Amalgam' Vital Sales Points: -Scharbatke is one half of turquoise colored french tourists and producer of the underground hit - love is only moments away'

Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

HISTORY:
Britxotica! (pronounced 'Britzotica') neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, 'Jump In The Line' with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit 'House Of Bamboo' plus the stunning 'Jonny One Note' by Ted Heath, the track that originally introduced John Craven's Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What's not to like

For over 18 years, Spectral Sound, the dance music imprint of Ghostly International, has thrived at the forefront of techno and house. It has been a source of support for numerous DJs and producers during that time, from Matthew Dear and Benoit & Sergio to Avalon Emerson and Hieroglyphic Being. Now, Spectral brings the past alongside the present with its latest release, a compilation that offers a vibrant cross-section of the current moment in underground dance music. Despite the wide-ranging selections on Spectral 139, a throughline of classic style and infectious energy emerges from the up-and-coming and established artists alike. Rising talents such as Minimal Violence, Russell E.L. Butler, and Earth Trax x Newborn Jr. bring unique perspectives to their hardware-centric productions. Veteran producers bring their own edge as well: D'Marc Cantu blows the roof off with the outsized funk of "Regularly People," and Nigil Caenaan's "January's End," a low-key Detroit classic from the late '90s, closes Spectral 139 with a whirlwind of manic rhythms and sedate synths. Gunnar Haslam opens the tracklist with his acidic mindbender, "Versione Antica." And Ghostly regulars like Tadd Mullinix, who drops a lush JTC remix of his new X-Altera alias, and Matrixxman, who collaborates with Riccardo Limiti on the cavernous "Inferno," tie everything back to the label's roots. The double-12" compilation, as well as each individual single, features original work by Los Angeles-based artist Nina Hartmann. Her designs have appeared on releases from labels such as Ascetic House and Big Love, and the pieces for Spectral 139 continue to develop her cryptic aesthetic. The marriage of Hartmann's striking, high-contrast symbols with such bold dance music speaks to a collection that aims to stand out.

Warehouse Find!

Scottish producer Austin Ato has been making waves the last couple of years having had well received releases on Futureboogie and Phonica White and this year looks to be his best yet! Remixes for Folamour on Classic, Balako on Greco Roman and an EP for Man Power's label Me Me Me will be dropping in the coming weeks, paving the way for his Delusions Of Grandeur debut double A side; Ella / Putting It In My Way.

On Ella we see Austin deliver some pure, unadulterated, house pleasure over eight minutes (although for us it feels like it could go on for days!). A filtering disco loop, synth melody, string stabs, all reinforced by punchy drums and that all important vocal chop. A simple recipe for a track when cooked up in the right way with love, passion and experience.

Flipping over to the AA, Putting It In My Way drops in somewhat bipolar fashion, a barrage of percussive beats and rolling snares building to a drop where Austin Ato skilfully switches the vibe completely, bringing in deep pads, rolling bassline and his own inimitable vocals. A totally unique track which harks back to the good old days when house music had a soulful and musical touch which connected instantly with the dance floor. This feels to us like a producer marking his arrival as an artist to watch closely for, and whose talent extends way beyond the confines of your standard four on the floor fodder.
Closing the release we have an Instrumental Version of Putting It In My Way which may well be your choice for the deeper moments, letting the groove push to the fore and the lush chords shine through the haze of dubby stabs and twisting synth line.

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back 'late' summer mood. We are very pleased to welcome yet again some new acts to Dirt Crew with the likes of 'Jaxx Madicine', 'Ouer', 'Times are Ruff' and 'S3A'. We cross many borders not only in genres but also country wise. From the heavy Disco sampled jam by French producer 'S3A' to the Jazz and Funk laden epos of the Italian 3 piece 'Jaxx Madicine' over to the Dutch deep house boys 'Times Are Ruff' who are well known from their, same named, label and finally to the Berlin duo 'Ouer' who also run an own label and released with our good friends at 'Heist Recordings', delivering an ecstatic electronic floating tune here.

This is all completed by some excellence from long time Dirt Crew artists. '25 Places' have been with us for many years now and their two Ep's have gotten so much love from the deeper deep house community. Here they drop an epic almost IDM techno like tune that closes this great album in the best possible way. Our Icelandic stall wart 'Felix Leifur' drops a heavy hitter named 'Buster'. After his recent 'Bobby Donny' Ep earlier this year we are thrilled to have him back on Dirt Crew! 'Harry Wolfman' and 'Ponty Mython' need no introduction really, they are adding Electro/ Disco/ Electronica fuelled cuts that form a great middle part to this mix of tunes. Harry going in very smooth and relaxed, something else than his usual House workout which we really loved to present to you. 'Ponty Mython' drops an irresistible 'good times' indie acid track in his unique 'free' style.

Last, we must of course not forget 'Dan Only' and key wizzard 'Lorenz Rhode'! With another beautifully smooth cut 'Dan Only' follows up on his latest debut Ep with us. Again a smart cross over in Techno and House with a distinct relaxed groove and atmosphere to it. Lorenz is back 'On Top' here after his super successful first offering to the Deep Love series last year and his 'And I Said' EP which stormed many charts. In the middle of touring and working with Detroit Swindle on their 'High Life' album we are super happy that he found the time to make another gem with that raw n funky live feel to it... We couldn't have started this compilation off with a better joint than 'Marakuja'.

Enough words for now ... just put these vinyl on your decks or stream/play it on the go and don't forget to drop them at a sweaty club night. Deep Love is here to stay!

Alma Negra are back on Heist! After their much applauded 2017 release with that great Soulphiction remix, they've been rather busy taking over the scene. They started their new label 'Alma Negra records' where they released 3 ep's in quick succession, with new as well as older material that showcases their tropical roots and keen ear for clubby reworks. They launched their live show, doing gigs across Europe with a highlight at one of London's more intimate live venues: the Jazz Café. Their latest outing -making their release count a total of 4 in only 8 months - was on Marcel Vogel's Lumberjacks in Hell and explored the more live / rework side of their project. Now they're back on Heist with 3 new tracks, supported by an Awanto 3 remix. 'Conversation' is a track we wanted to put out on Heist badly, simply because it's a beast of a track. It sits somewhere between a live African drum track, percussive techno and moody Midwest electronics, with pads and strings coming in and out of play while a relentless kick drum keeps the energy on a haunting level. This track is Alma Negra at their filthiest, and it feels like they've taken a next step from last year's dark and heavy Luanda dub, bringing it from an intimate dreamy stage straight into the main room. 'This is the place' shows a different side of the house spectrum with the Alma's love for dreamy deep house. The track flows up and down, with soothing Rhodes chords, arpeggio's and mumbling vocals setting a summery mood that's perfect for your warm up or daytime party. Meanwhile, their third original track 'From the heart' goes even deeper and navigates around a smart vocal loop topped with strings, bleeps, claps and rimshots that just keeps going.

BAR records is the lovechild of BAR Rotterdam, a club founded in 2013. BAR records will release a variety of music linked to the club, by people that are regularly playing in the laid back colorful space that is BAR. We are excited to announce the first release with French label owner of Macadam Mambo, Sacha Mambo, who made us some trippy originals, and local Fader (from Borneo). He created a trancy banger aswell as a more dreamy house track.

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Label head honchos Rhode & Brown finally debut on their own imprint, Slam City Jams, after putting out music on fellow labels Toy Tonics and Public Possession. Produced over the past two
years, the Wave 100 EP might be the most versatile record by the Munich-based fellas so far.

On the title track we have an euphoric hint of 80s synth nostalgia, slapped bass and banging woodsticks (did someone say Safri Duo!). 'Sparkle' on A2 feels like the joy of a fresh breeze on hot summer days whilst living la vida loca in the clouds - b/w phat bass, sweet flutes & strings.

On the flip there is 'Love Lane', a classic house track with a funked up bassline, shuffling snares and the most erotic vocal in human history. 'Moon Bells' on B2 is the soundtrack to that road
trip you did back in 86' with a Juno 106 arpeggiator bassline, percussive drums and airy synths all around. 'Over Europe' on B3 rounds off this special 5-tracker with beautiful ambient spheres
straight from outta space.

On Respective Edges Of America — Oregon And Maine — Keith Kenniff Records Quiet Music At Night. 'when Things Are Calmer,' He Says. 'my Mind Is Less Distracted When I Know That Everything Is Dark Outside.' For Over A Decade, Such Has Been The Mode — Nocturnal, Unrushed, Using The Same Mini-cassette Recorder, "a Lovely Little Imperfect Way To Treat Sounds" — For One Of The Country's Most Understated Composers. Kenniff Has Housed Dozens Of Ambient Releases Under The Name Helios Since 2004, Alongside Post-classical Output As Goldmund, Shoegaze Pop With His Wife Hollie As Mint Julep, And Commissions For lm And Television. It Is A Reliably Transportive Body Of Work That's Earned Kenniff A Cult Following, And A Genuine Modesty That's Kept Him On The Fringes, Right Where He Prefers, In The Dark.

Kenniff Mostly Lets His Music Breathe Free Of Explanation, Open To Interpretation. As Listeners, We Follow Subtle Suggestions — The ery Sky On The Cover Of 2012's Moiety, The Countryside Daydream Of 2015's Yume — Extracting Meanings From Imagery And Inscriptions. Veriditas, The Sixth Helios Full-length, Shares Its Name With Twelfth-century Philosopher Hildegard Von Bingen's Notion Of "the Greening Power Of The Divine," The Term Derived From The Union Of Two Latin Words: Green And Truth. Bingen Saw The Abundance Of The Earth As Vitality To Be Cultivated, Interconnected With The Body And Spirit. Take The Concept In Concert With Veriditas' Vistas Of Sound, Gazing Beyond The Tree-lined Wonder On Its Artwork, And We Undoubtedly Recognize The Album's Rooting. Kenniff Elaborates, "while I'm Not A Very Spiritual Person As It Relates To A Religious Belief, I Do Feel An Overwhelming Connection Between The Aesthetics I nd Pleasing In My Experience Of Nature And My Experience Of Writing Music."

Following the completely sold out 'Imagine - A - Nation' and 'Le Fusion' reissues, Anotherday brings you a very special release from the vault of the enigma that is Spencer Kincy, AKA Gemini - we are very proud, and extremely excited to present Gemini's first 4 releases, lovingly re-mastered!

* Originally released on Relief Records; the Chicago techno label headed up by Cajmere, these releases were Gemini's introduction into the worlds of house and techno, and contain some of his most vital works.

* As one of Chicago's most mysterious and revered characters, the story of Gemini, aka Spencer Kincy has become something of a myth in recent years - blazing a trail throughout the 90's, prolifically releasing over 200 tracks from 1994 to 1999, Spencer's music had shades innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared.

* As before, this album has been licensed directly from the man himself, and the money made from its exploitation will go directly to him.

On The Latest Release From Make Mistakes, Roy England And Friends Take Us On A Ride Into The Beautiful, Soulful Depths. From Uplifting Love Jams, To The Chunkiest House Funk, As Always, The Gang Has You Covered.
Roy England's Original Mix Soars Through The Night Skies. Pitter-patters, Emotive Pads, And A Driving Groove Bring Us The Softer Side Of Our Little Boogie Baron. Perfect For The Euphoric Abandon Of A Sweat Soaked Dance Floor.

Alexi Delano, A Man Who Needs No Introduction, Kicks Things Up A Notch, Taking The Original And Giving It A Restructured, Pumping Groove. A Dubby Line Runs Through, With Echoing Pads, A Pulsing Bass, And Fluttering Keys And Synths. A Beautiful Dance Floor Meditation, With Plenty Of Junk In The Trunk.

Fredy Grogan Takes A Hard Left, And Steps Confidently Into A Psychedelic, Tribal Funk. Teasing New Vibes Out Of The Original Material, Grogan Transforms Beauty In Rhythm Into A Classic House Groove, Before Settling Us In To A Hypnotic Groove.

Make Mistakes Keeps On Keepin' On. That's All We Know. the Tears Of The World Are A Constant Quantity. For Each One Who Begins To Weep Somewhere Else Another Stops. The Same Is True Of The Laugh. Let Us Not Then Speak Ill Of Our Generation, It Is Not Any Unhappier Than Its Predecessors.

Samuel Beckett, Waiting For Godot

Music From Memory return with a further six tracks from Dutch musician Richenel. Continuing with recordings taken from his debut album 'La Diferencia', originally released in 1982 on the cult Amsterdam cassette only label Fetisj, the tracks on Music From Memory's second EP 'Perfect Stranger' includes alternate takes drawn from Richenel's personal copy of the album alongside a further composition which didn't make it onto the original Fetisj cassette.
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Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam's underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the 'La Diferencia' sessions reflect a unique mix of punk aesthetics with a synthesized bedroom funkiness.

A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam's musical and cultural history and one that is deserving of a much wider audience.

'Perfect Stranger' is co-compiled by Orpheu De Jong

5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

'Time flies' as the saying goes and indeed it has as Quintessentials celebrates its 10 year anniversary. For a decade this mighty label has been getting some true love and support from all quarters. Listening to the back catalogue now, most of the tunes still sound fresh and keep the label's famous "deep, raw and real" motto alive.

Quintessentials has always been a platform for new talents as well as established artists, and with he likes of Anton Zap, Vakula, Baaz, The Zohar, MCDE, Nicolas, Ugly Drums, Toby Tobias, Borrowed Identity, Mat Chiavaroli, 4004, Soul of Hex, S3A, Los Goddard, Felipe Gordon, Javonntte......to name but a few, it's an enviable back catalogue.
This "Ten Years Quintessentials" compilation offers a wide range of styles: Detroit inspired Techno and House, a ruff Chicago stomper, some proper deep House, a discoish tool, and crafty beats and basslines all over! We hope you enjoy this compilation as much as we do. We are ready for the next decade! Are you

Next up on Nang it is time for a slice of spot-on male vocal house and disco. Liverpool based Thomas Lang made some fine albums in the 80s and 90s with John Murphy (who went on to carve a highly successful career in movie tracks) and David Hughes. Somewhere in between that and a string of recent albums (Torch Songs and The German Alphabet) he also managed to buy one of the finest recording studios in North West England, Parr Street Studios (the "Abbey Road of the North").

We are pleased here at Nang to see a new avenue turned in Tom's life, his first foray into the dance world. "Scared" was written with late Liverpool songwriter John Uriel quite some time ago. It first emerged as a b-side to Tom's comeback single "August Day" in 2011. Here at Nang we always loved the smooth and sophisticated vocal and melody. When Tom suggested some remixes we were on board.

"Scared" is a peak time vocal house track, here presented with remix options.

The a-side sees fellow Liverpool DJ crew The Imposters taking the track on a dubbed out trip, before flipping over for their hypnotic, swing-house rework which highlight the layered vocals and smooth sax. Camanchi take us for some peak time House action.

The Song Says - Bruno Pronsato´s label restarts after 4 years of hiatus with a Vinyl Version of his seminal "Lovers Do"

It's been fours years since the original release of Lovers Do. For the first time now finally released on vinyl. In the meantime he's kept very busy--primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on thesongsays (Bruno's label). He's continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork's top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno's work to date, Lovers Do is experimental without being snobby--or to use his own term, accidentally avantgarde'-- but this one takes it further than the others. It has a looseness that's truly rare in techno, scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno's best club tune in years, the eerie and delirious Feel Right.' Brian Eno once described his own

The wonderfully monikered Golden Flamingo was one of many labels operating alongside the now legendary P&P Records imprint in late 70's to early 80's NYC. Fans of deep Disco, raw gritty Soul and rare as hen's teeth Electro and early Rap know of the cult status of it's brief but influential output and in recent years the P&P label and it's associated entities have enjoyed further popularity through the exposure of it's music by some of the world's most respected DJ's and selectors, and rightfully so. An amazingly lo-fi, endearing and overtly underground aesthetic runs through all of the labels, from the label artwork down to the music itself. This style is evident on Margo Williams' epic 'God Save And Protect All The Children', a colossally rare 12" from back in 1980.
A huge, drifting soulful Gospel number, 'God Save...' has been an oft overlooked gem in the wider P&P related catalogue. Not much info is known about Williams other than she contributed backing vocals to some classic Disco records including Inner Life's 'Inner Life II' and The Salsoul Orchestra's christmas LP as well as appearing on other P&P projects. The production on this record was handled by the absolute powerhouse duo of Peter Brown and Patrick Adams so it oozes that amazing quality that these 2 legendary studio figures brought to all of their projects - the trademark P&P sound. It's all here in this beautiful stirring plea to the lord to look after all of us set to some incredible arrangement and production. It's obvious these self-made music industry legends were at the top of their game back then and one only has to explore the rich and diverse catalogue of amazing music they've given us over the decades. Absolutely essential repress action here.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK. Housed in original 1980 release full sleeve artwork.

Acid house alert! We are really excited to introduce you our new release. Tomlin is a misterious producer from our gang and we are sure you will love him. Pure analog stuff for Omar S and Levon Vincent's fans.
Don t miss it!"

Seth Troxler & The Martinez Brothers' Tuskegee Music welcomes Chicago legend K- Alexi Shelby for a new EP that features some essential solo cuts as well as two great collaborations with Tony Lovlesss.K-Alexi is a genuine Chicago great. He's been at the core of the scene since the eighties and releasing his raw grooves on DJ International, Trax and Transmat, as well as his own K Klassik label. He has recently remixed for Seth Troxler's other label, Say It Play It, but is now back serving up the sort of engaging originals that have made him such an enduring star.
Excellent opener 'Cherry K Moon' is a raw slice of deep and soulful tech. The driving bassline melts your mind as afro percussion and driving drums make for a solid groove below. It's one for the late-night hours that will twist and turn any crowd inside out. The superb 'Dark Smile' is less tense and more house oriented in nature, with preacher style vocals up top and busy kicks down low. Live, chattery hand claps bring an organic feel and synth stabs inject looseness that will get hands in the air.
The pressure then builds through the manic Tony Lovlesss collab 'Anal Probe', a powerful techno track with hi tech drums and taught synths freaking you out as they ride up and down the scale. Their second track together 'Fly Shit' is more playful with radiant synths opening it up to the skies and lively, funky drum programming bringing a real sense of a sun kissed terrace party. Last of all, the standout 'Run With Jackals' feat. A.D.M is another heavily percussive track with rattling toms, vocal chants and hammering hits all adding up to a compelling afro-house rhythm. These are all innovate tracks that explore various different moods and grooves with a real sense of quality.

The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.

And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.

Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

With new track 'Warschauerstrasse', Claudio Ricci has created an expansive seven minute workout of twisted synths and deep house drums. The first remix comes from long time techno heavyweight Timo Maas and the prolific and inventive Basti Grub. Their singular remix speeds up the original and layers in fluttering toms and percussive sounds as well as broad, groaning synths and the distant sound of a bustling city at rush hour. Sudam label boss and Ibiza based artist Kintar flips the track into something spacious and haunting. Eerie keys and sweeping synths keep you on edge as the rubbery techno groove rolls on into the night. Bulgarian based Metodi Hristov loves to experiment and has a distinctive techno style that gains support from the likes of Richie Hawtin, Carl Cox and Adam Beyer. In his hands the track becomes a peak time tech banger.

Here it is !

The long-awaited new LP from former Dubtribe Soundsystem shaman Sunshine Jones

Far from basking in Bay Area bliss, Sunshine has been busy redefining his organic approach to music making and sound synthesis into a rich and textured fresh take on the House blueprint - best realised in his elaborate & ever-evolving live shows.

Assembling these improvised pieces into a cohesive whole, that might well just be the best vinyl based representation off a full night out you're likely to hear this year.
From the emotive opener to last year's anthemic 'Fall In Love, Not In Line' closer, Home represents the fluid but refined garden of sound that's grown from Dubtribe's rich 90's foundation.

The artwork on this splendidly presented gatefold LP is a photograph of Sunshine performing live at the Garden Party in San Francisco by The Holy Mountain, the collage is done by Sunshine and the design is by Fernando_Graphicos. Accompanied by detailed track notes, with all equipment used to make the record alongside sonic schematic. Man and machine aligned for total transcendence !


SINGLE GATEFOLD LP

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

Betty Harris' The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era.
Betty Harris's powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans' players that Toussaint put together to back her, which by the time of her funk classic 'There's A Break In The Road' were the legendary super-tight, super-funk New Orleans group The Meters.
With the extraordinary song-writing skills of Allen Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint's local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here.
All of these singles featured here were released on Allen Toussaint and his business partner Marshal Sehorn's local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris' music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.
This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records' New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty Harris' music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans.
This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork.

In 2015, something magical happened. We met a couple of talented young Swedes named Artur Bra¨ndstro¨m and Egil Kahlbom who excelled at composing and producing these lighthearted, breezy disco-hued house tracks (or house- hued disco tracks, perhaps) that both fit the aesthetic and character of LPH and brought something new into the fold. The result of that first encounter was Marathons, a full-length album, their debut to the world, and now, two years later, we're back for the much-anticipated follow-up.

Rehearsal is a little briefer than its predecessor—it's five tracks—and has a markedly different tone, one that's less about dusty, sun-bleached samples and more about tightly-engineered and delicately-crafted songs. If the first effort was marked by its carefree naivete´, the sophomore effort is, well, something a bit more advanced or, perhaps, rehearsed.

What hasn't changed, though, is these guys' ability to home in on grooves and coax something trasncednetally hooky, memorable out of them. The five tracks contained here are low-key in attitude but powerful and punchy in approach. They're uniquely juicy, nourishing numbers for mellow hours and fearlessly fun ditties for party hours.Lots of love went into the lot of them, and we hope all's you feel when you let them wash over you is that. Love.

2025 Repress

After a wildly successful collaboration on Thatmanmonkz's 'Turn It Out' from the LP, Columbus-ing, Dave Aju suggested they should continue their production streak for a new percussive tracks project. At the same time, Aju had finally kept his word to legendary Bay Area club/underground MC and personality, Foxxee aka Foxxee Brown aka Lawrence Petty, to work on a track together as well. Petty being a core part of the infamous Ya Mama's House radio show on 106 KMEL alongside Pete Avila and David Harness that introduced legions of young Bay Area DJs to real House Music, includ-ing Aju, in the early 90s. While Aju & Monkz had originally been working on more of a slick club romance narrative angle over some robust tumbling drums, some very tragic news had struck their hometown - at an under-ground event in Oakland California, more than 30 people including many dear friends and stalwarts of the local dance music community had been trapped inside a building and killed in a fire that broke out while doing what they love, in the now-infamous Ghost Ship. Lawrence and Aju immediately acknowledged and agreed that the track should serve as a tribute to the event and the loved ones affected by it. But decidedly, rather than it being a solemn requiem of sorts, it should reflect the communal power, strength and uplifting spirit of the underground scene they all helped build and knew so well. At first entitled They Sleep We Live, a representative reference to the iconic arm tattoo of the late Jonny Igaz aka Nacht, one of the more well-known and active DJs whose life was lost that tragic evening, and a lyrical direction idea for Lawrence for a direct tribute to the SF Bay Area scene,

We present you the third release in our very successful collaboration series with "Roar Groove" and "The Revenge'.
Straight after his new brilliant album "When the Thrill Comes" that was release in May this year Graeme Clark is back
on Dirt Crew with four new gems.

The opening, funky and twisting, "Times Get Tough" is a deep rolling down tempo Disco/ House stomper that builds into this
ecstatic groove we got to love so much from his previous outings. Pure good times and hands in the air action promised on this one!
"Subconcious" is that darker and meaner side of House track with a slammin' Chicago beat he delivers this old school jackin' feel.
Big bass lines and soulful vocal samples tied together by "on the fly" drum patterns.

The B-side of this new EP opens with an hypnotic jam that builds and builds till those sweet synths start soaring in.
All carried by this ultra phat bass line, we can only imagine how this one will sound on a massive sound system!
"Searchlight" is def a highlight of this release. Can we go even deeper and darker oh yes! With "Come Down" we get
a proper come down to close this EP. Deep sub basses with floating tops and again that classic Jack House beat.
Certainly a late night track made for those sweaty and long dj sets.

Summer is here and "The Revenge" has the perfect soundtrack for hot and steamy nights, inside or on the open field!

Scottish Producer, Stephen Lopkin Is Back On M>o>s Deep With A Great Double Pack Of That Gleaming Sound We Love Him For! Tip!
.
Having Released Two Eps On The Label Since 2014, Stephen Lopkin Now Steps Up To Mos Deep With A 2x12" Release Entitled Clyde Built, Recorded In His Home Town Thornliebank. The Scottish Artist Has Been Making Prickly House And Techno For Almost A Decade. His Style Is Serene And Slick, And Across The 10 Tracks Here He Manages To Conjure Tracks That Work In The Club But That Come With Plenty Of Cerebral Qualities.

He Never Made A Secret He Takes A Lot Of Influence From Early Detroit Techno, Even Several Track Titles Pay Direct Homage To His Musical Heroes Like Derrick May, Kevin Saunderson, Carl Craig And Also The Track New Euro Politique Is Made In Memory Of The Late Uk Producer Matt Cogger Aka Neuropolitique.

'welcome To Nowhere' Kicks Thing Off With Languid House Grooves And Jittery Percussion, 'matrix' Is Awash With Swirling Pads And Astral Grooves And 'new Euro Politique' Is A Blizzard Of Kicks, Panning Percussion And Arpeggiated Synths That Glows Bright. There Are Darker, Driving Cuts Like 'fridays At Pure', Trippy Offerings Like The Title Track And More Thoughtful And Pensive Jams Such As 'qinosen'. The Final Three Tracks Are Busy, Electrifying Pieces That Fire Every Synapse With Their Sci-fi Fx, Crisp Drums And Cinematic Atmospheres.

The Whole Album Is Wrapped Up In Majestic Synth Work And Every Track Reveals More Layers With Each Listen. Offering A Sublimely Complex House And Techno Sound, These Tracks Look Back To Go Forwards And Do So With A Real Timelessness.

After three major releases by Tell, Nachtbraker and S3A, its time for debuting Italian artist Verner to close our beloved Trophy Quartet. This Milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. Long stretched pads, playful chord progressions, organic percussion all produced with analogue 70's and 80's vintage synthesizers and drum computers in Verner's studio reminding us a bit of Harvey Sutherland and Nu Guinea's style. We're talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully A&R'd by Nachtbraker.

Drop the needle on the A side and you'll start off with L'inizio, a majestic piece of synthwork. Hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80's tv series. Upset takes you on a happy groovy tour whilst Crash of the Web Era and The Motion Pictures take us on a trippy and ambient voyage that is hard to wake up from. When flipping the record to the B side, Verner is stepping back into the groove and funk with Tecladista, arguably the dance floor hit of this debut EP. Starting of with again a majestic synth intro Area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. Closing this versatile EP is Late Night Job, a deep, deep tune with a thriving baseline and mesmerizing synths.

We suggest to don't sleep on this one and have a listen to this piece of art by the very talented Verner.

As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.

The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.

'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.

'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.

We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.

WHITE RING mark a triumphant return with a brand new full-length Gate Of Grief, due out on Rocket Girl on 22 June 2018. Their debut album arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe. Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. One of the most acclaimed proponents of the "Witch House" movement, WHITE RING blend heavy, distorted electronics with eerie, unsettling vocals. However, their new material, created over the course of seven years, pushes the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix. As Bryan Kurkimilis explains; 'We treat our influences like tools to create a certain feeling. We are interested in covering more ground than sticking to a certain formula.'
Bryan and Kendra originally met on Myspace in 2006. At the time Bryan lived in New Orleans and Kendra was in New York, and they didn't even meet face-to-face until 2008 after they had already released a few singles. In 2010 they released the EP Black Earth That Made Me, which was a collection of songs that they mostly recorded before they met in person. The record confounded expectations by selling out immediately on pre-order, making it very rare and highly sought after, with copies going on Ebay for large sums. It was reissued by Rocket Girl in 2011 and still continues to sell in voluminous amounts.

They started playing live in 2009 and rapidly grew a reputation for their captivating performances, usually bringing their own lighting equipment and putting on a spectacular laser show. They have played for large crowds in their hometown of NYC and toured the UK in 2010 in support of their sold out split 7" with oOoOO, playing InTheCity and SWN festivals - which were their first shows outside of New York. They have since shared the stage with the likes of Cold Cave, araabMUZIK, Liturgy, Blank Dogs, Gatekeeper, Blondes, oOoOO, Clams Casino, and others.  
They started recording Gate Of Grief in 2010, with the hope of exploring new musical territory, however they took a while to find their path. Bryan and Kendra had some tough personal battles to fight, a sense that pervades the whole album. Thematically it delves in to some pretty dark places whilst exploring the concept of time and what it does to people, relationships and society. As Bryan explains; 'There is a lot of tragedy in this album but there is also hope at the end of it.'
By 2016 pressure was building to finish recording, however due to Kendra's ill health, they needed to bring in someone new to assist with vocals. Fortunately they found Adina Viarengo, who had played in various bands and gave them the impetus needed to complete the album. Shortly after meeting in Brooklyn, Bryan and Adina moved to Joshua Tree, California to finish recording the album, before settling in Massachusetts. Her vocal style fitted in seamlessly with what Kendra had been doing, and although she sang on half the songs, it's almost impossible to tell who is singing on which track, thus making her the perfect addition to the band.
Gate of Grief can be considered the second part of Black Earth That Made Me, or rather, they are the first two chapters in an overarching trilogy about evolution. As Bryan explains; 'First you are born but then you realize what you are and what is against you and it's a flood of emotion that you can only hope to hold on for and let it pass.'
The album title, Gate of Grief, refers to the real gate between Africa and Saudi Arabia that is believed to be the spot where the first humans migrated out of Africa and went on to populate the rest of the world. The album art ties in with this concept, with an image depicting a group of settlers in the USA in early 1900 during a parade. They were actually from a cult in the early 1900s in Bryan's hometown of Fort Myers, Florida.













M 13) Burn It Down

Paul Dickow Aka Strategy Is A Musical Polymath With A Signature Sound Derived From His Immersion In Hardware-based Electronic Music. He Has Spent Close To Two Decades Traveling Freely Through House, Techno, Rave, Noise, Ambient, And Sounds More Difficult To Categorize. Strategy's Sound Is Inimitable Because It Is Literally Built By Hand - His Hands. Through All Of This Sonic Journeying, Including Multiple Full Length Releases, A Constant Has Been His Love Of Reggae And Dub, Yet Somehow A Proper Dub Album Has Never Emerged - Until Now.

After Two Much-loved 7' Singles On Zamzam - To Say Nothing Of Dubwise Excursions On Idle Hands, Shockout, Peak Oil, 100% Silk And More - dub Mind Paradigm' Is The Fulfillment Of A Clear, Simple Goal. "i Set Out To Make A Full Set Of Dub Tracks Good Enough To Make An Album -- Something That Had Always Eluded Me-- And It Worked, Finally. A Simple Exercise In Seeing If We Could Launch The Capsule To Orbit Planet Reggae And Make It Home Again.'

Reaching Planet Reggae, The Album Explores Analog Caverns Of Dubwise At All Tempos, From The 80s To 140, Full Of The Ghosts Of Ancient And Future Technologies, Glimmering Shards Of Hope Among Heaps Of Folly, Ruin And Rubble. Music Fans With Crates Deeper Than The Contemporary Will Find Shades Of Wackies, Firehouse, Unity Sound, Burial Mix And More, But Only Winks And Nods... No One Sounds Like Strategy, And Strategy Sounds Like No One.

Mastered By Sam Precise.

Art & Design By Polygon Press.

Distributed By Unearthed Sounds Ltd.

Limited To 700 Vinyl Lps - No Repress, No Digital.

In ancient LDDLM times, BLDDLM even, Belgium could well have been the freaky house and ecstasy center of the world. If only we could remember all the lost hours... But after all, as the Brussel saying goes: 'it's Friday, tomorrow is Tuesday'.
At LDDLM, we try not to reminisce, that was just setting the mood.We are very happy to welcome ARTHUR JOHNSON in our non-fold, a young producer from Liege via Marseille and La Dame Noir. AJ is amongst those ever mutating artists, his u-turns slowly composing a real personality, and one fitting our contrarian attitude. In a way PERFECT STRANGER reminds us of a good 90's Farley/Heller remix, not so much camp Fire Island than almost sweaty late night trancer. We love those tracks that do not fit our ethos a priori but that we can't stop playing. COSMO VITELLI is a long time family friend and he beams up this stranger through the axis into some kind of romantic italo-german anthem.
BALLADA and SECRETARY DISCORDIA show a different side of AJ, a dub march echoing Dif Juz and a percussive machine funk number. We sincerely hope AJ keeps on straying for the best, his way being our way.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album 'First Album" was released in 2001 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, We were naive, innocent, adventurous and we didn't expect anything in return'