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It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Beyond Paradise returns with a sumptuous slice of tripped out business from the mind of Richard Hardcastle aka Solid State, complete with two stunning remixes from Richard Sen and The Veteran Delinquents.

Over 35 years in the game, as a club DJ, radio presenter and producer since the late ‘80s, Richard Hardcastle is a true veteran of the scene and certainly knows a thing or two about what works on the dancefloor. ‘Seven More Minutes Of Funk’ delves into the psychedelic side of his production with a club-ready cosmic stomper complete with twisted guitars, hypnotic synths and wall shaking bassline.

‘Rhodes To Nowhere’ is more beachside than basement, a funked up retro electro cut with dazzling keys, ‘80s snares and a serious shot of feel-good flare.

On the flip, the title track gets the remix treatment from Richard Sen and The Veteran Delinquents, the former warping the original into an EBM powerhouse whilst the later turns into an end of the night, electro-infused chugger.

Red hot Italian DJ and production collective Aura Safari is back with a second full-length album, Island Dreams. It lands on Hell Yeah Recordings on September 15th and is another live and sun-kissed odyssey through balmy Mediterranean evenings, gorgeous sundown sessions and funky analogue grooves.

Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni, Nicholas Iammatteo, Lorenzo Francioli, Ruggero Bonucci and Nicola Pitassio are Aura Safari, and between them they play drums, percussion, bass, keys, and guitar. They contributed to the first volume of the Buena Onda compilation in 2020 on this label, a year after serving up a debut album on London's Church Records. Since then they have become ever more entrenched in their local scene in Perugia, playing summer sets at the Umbria Jazz Festival, winter warmers at the legendary Red Zone Club and host their own Tropical Climax parties each month in the town centre.

Aura Safari are also deep-digging music collectors who have extensive and far-reaching tastes. When cooking up their sounds they draw on everything from Afro to Italo, house to disco, 80s boogie to world music, jazz and Balearic beats. This new album shows that once more across four sides of vinyl that sweep you up and transport you to somewhere idyllic.

The title track kicks off with steamy Mediterranean grooves embellished with lush Rhodes chords and sprinkles of cosmic magic. 'Sur Mon Balconnet' then slips into dubbed-out disco territory with 80s synths and leggy drums while 'Riserva Naturale' is a new-age jazz house sound with majestic lead synths and heart-melting chords that speak of a sunset dance on the beach. 'Onda' has squelchy boogie bass with hip-swinging drums, 'Wave Riding' is a lo-fi funk excursion with hints of West Coast Californian swagger and 'Magic Malbe' is loose-limbed Balearica with clear blue skies and blissed-out chords.

'Dancing in the Moonlight' feat. Zeke Manyika has all the vibrant feelings of bubblegum pop with Afro vocals and steel drum sounds next to rich xylophone sounds. There is plenty of heat and exotic charm to the proto-Afro house of 'Tropical Climax' and as well as dub versions of 'Sur Mon Balconnet' and 'Dancing in the Moonlight' come the scuffed-up Dam-Funk style beats and boogie of 'Disco Mantra' before closer 'Patagonia' shuts down with elastic drums and bass and playful synth leads that send you home wanting more.

Island Dreams is a tropical escape to a rich world of fusion sounds that look back to go forwards. It's a feel-good record to accompany hot nights and lazy afternoons, cocktails at dusk and dancing till dawn.

1 december 1944, Thiaroye military camp, right outside of Dakar, Senegal.

1600 French soldiers of West African origin (Benin, Mali, Ivory Coast, Tchad, Senegal , Gabon, Togo etc.) have been quickly evacuated by the French Army during what was subsequentially called the ‘whitening of the colonial troops’ that happened before the armistice signature. The soldiers are awaiting to be paid for their war effort. Things go sideways, protests erupt, and the French military staff decides to open fire. The official number of casualties is 35, although various sources claim several hundred people died on that fatal day.

Since then, several artists have grasped that difficult topic, screaming for recognition and reparation.

Such is the case with a young Senegalese musician and singer named Maxidilick Adioa, with his very first single ever released, ‘Toubab Bile’, in 1987.

At that time, Adioa had been living in France for a few years. He was considered a master percussionist, playing, recording and touring alongside the great Ivorian artist Alpha Blondy. He had just written a beautiful tune, ‘Nao’, for Aminata Fall, one of the biggest actress and singers in Senegal. It seemed like a good time to launch his solo career.

Toubab Bilé remains Adioa’s biggest hit to this day, and one of the best African reggae tune ever recorded.

Adioa ended up signing an album deal with Chris Blackwell’s Island records and toured the world endlessly during the following years.

In 2012, François Hollande was the first French President to officially mention and pay tribute to the Thiaroye massacre in a speech.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Carved out from between the cracks of life over a 2 year period, Low Flung presents his eighth full length album ‘The Wheel’. Together, the 11 tracks provide a space to process and sit with difficult change. This takes the form of microscopic minimalist landscapes. Presented in both audio and physical form as micro grooves on a 12” vinyl.

At times the sound wanders and walks, other times it remains still, clear and precise. The omni-present artifacts found in ‘The Wheel’ are left to breathe a different life during each listen. Drones act like familiar trails losing their path as space transforms like a breeze over a table of sand. Hyper focused spores evolve around blurred waves of time. Electronic tones are captured flowing to the rhythm of a decaying natural world.

‘The Wheel’ is a patchwork of sonic experiments made using modular synthesis, fixed architecture synthesis, Buchla Music Easel (replica), outboard effects, cassette manipulation techniques, samplers and field recordings taken along the texturally rich and historically questionable eastern coastline of Australia.

The tracks have been composed with a materiality that embraces the acoustics of different listening environments. Much like mood, this means each listening experience is unique due to the natural acoustics of your listening space. The sounds on this album embrace this phenomena, creating a rich, visceral listening experience that slowly scratches away at discrete moments of time

Rather than attempting to traverse new sonic fields of experimentation in ‘The Wheel’, the album touches on the various spaces Danny has explored over the past ten years as an Audio Visual artist. Although technically eighth, it would be more fitting to say this album draws a clear line from ‘Blow Waves (2018)’ to ‘Outside The Circle (2020)’ to become the third and final chapter in the expanded non linear, unintentional landscape series. Serendipitous that each was conceived over 2 year periods of time.

While the key focus is sitting with difficult change, this album is also a celebration of any moment you might find yourself in. Good, bad, easy or hard, this album is an attempt to help with feeling content wherever you are along your path. With each cycle a new context.

Kharkiv born artists Komponente & Kurilo have been an integral part of the local scene in the past years both as DJs, Live-Act and Producers.

Now further apart since the beginning of the war they are still united in music and we are happy to finally share this EP with which was originally conceived when both artists were still Kharkiv based during the pandemic.

Kurilo has since made the journey to the New York via Berlin in recent months. While Komponente took refuge in Kyiv for some time after having sat out most of the fighting in and around Kharkiv while lending a helping hand to families and elders who couldn't manage or didn't have the means to leave the city when russia attacked.

At this point we are just happy and thankful to have both of them still with us and to be able to finally get this EP out which by now seems to have travelled from a past life to us in the here and now.

Pandemics or War this is Electronic Music charged with pure emotions produced during one crisis, released during the next and we will still dance to it during whatever comes next!

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

Portage Garage Sounds is proud to present the label's first LP, "Capturing Animals" (PGS 017) by Charles Trees. Recorded over a two year period, Capturing Animals preserves the isolation and individual atomization experienced by all over recent years as well as the jubilance of humanity's reconnection.

The 11 track album presents itself as an interconnected work--the listener is guided through the album's narrative and sequential structure effortlessly by Trees' arrangement and showcase of his production and composition talents. The album offerses glimpses of early Detroit techno, flashes of EBM, drips of acid (and full-on doses in "FRQDNK"), stripped-down electro, UK RNB, prominent vocals (as heard in "Stave I" and a Sophie cover), and composed works of live strings.

Capturing Animals is a high point for Trees' and Portage Garage Sounds. The raw talent and dedication is unmistakable. The artist and the label are moving onto higher ground and reaching upwards.

Two mavericks, out on the weekend, trying to make it pay...

"Maverick was the word that came to mind when I listened to this music. A slightly wayward independence of spirit and outlook. The word originally referred to an unbranded male calf that had become separated from the herd (because Texan rancher Sam Maverick was so negligent in his branding - ‘if it ain’t branded, it’s a Maverick’). But Sam’s grandson Maury Maverick gave it a different twist in his short but stormy Congressional career as the only liberal member of the Southern Democratic caucus. Maury was so out of step with his own folks that he not only voted in 1937 to make lynching a federal crime, he even addressed the House to condemn the practice as barbaric. His attempt to ban racist mob murder sadly failed, but it’s that refusal to march in step which distinguishes the two ‘mavericks’ who made this record.

Who would attempt to combine cunning ethnological forgery, Scottish folk songs, claw-hammer guitar, untutored horn-tootling, elastically relaxed drumming and garage electronic fuckery? Only Greg and Stefan, high on sea, sunshine and mis-judged micro-dosing – that’s who. ‘Don’t drown’ was offered as practical advice during the self-described ‘Yellow Submarine’ phase of making this record. And while they managed to avoid literally doing so (phew), they sound here like they got pretty ‘deep in’ to an Octopus’s sound world all their own. This surprisingly clear analogue recording has just enough Bikini Bottom grit to ensure traction. The tunes are inviting, and the sonic disruptions are too good-natured and goofy to upset even the most delicate digestion.

The sessions have had a couple of years to marinate, courtesy of some pandemic, and are here offered in that most Archducal of vinyl formats, the double ten inch. What are you waiting for, a side of Crabby Patties? Get your water-wings and dive in (unless you’re tripping)!" - Bruce Russell (The Dead C)


Pumice is the long-running, endlessly inventive project of New Zealand native Stefan Neville (1974), whose shambolic music is equally reminiscent of Kiwi pop groups such as The Clean and Tall Dwarfs as well as the country's experimental noise-rock bands like the Dead C. Largely recorded solo by himself on junky equipment, his songs typically feature blown-out guitars, wheezing chord organs, and vocals disguised by tape hiss and static.

Greg Malcolm (1965) is a guitarist from New Zealand who has played everywhere on the globe and with all most everyone, including Rosy Parlane, Toshimaru Nakamura, Tetuzi Akiyama and Bruce Russell, as well as solo releases on his own label, Corpus Hermeticum, Kraak and Celebrate Psi Phenomenon.

After the inevitable success of L'Hiver des crêtes (aka season 1 of their major new project celebrating 40 years of approximate punk), Ludwig Von 88 are back for new adventures in a second season entitled Le Printemps du Pogo. This second vinyl album (of the four planned this year) is this time illustrated by LauL (iconic graphic designer of the 80s - Bérurier Noir, Ludwig Von 88, Mylène Farmer, Patrick Topaloff).

Fourteen tracks packed with love, joy, shitty jobs, noisy neighbours, flowery pogos, fried chicken, unsanitary dungeons and a negative carbon footprint.

There are some good traditional Keupon numbers, but also ska, reggae, yodelling (Yodel to Hell), a universal anthem of destructive punk (Youplapunk), swing, the follow-up to Fistfuck Playa Club (New Club) and Kaliman (Kaliman saves the world), and the long-awaited conclusion, 38 years later, to their interstellar hit J'ai tué mon père (J'ai sauvé mon père). Or the hit Let it burn, which we'll probably be able to sing along to during the long hot days to come.

Thirteen of these songs have already been released on the internet (at a rate of one a week, because the Ludwigs like periodicity, and that's why they keep coming back and coming back) but the fourteenth track, Casques Rouges, is completely new to the galaxy.

So here's something to liven up the weeks of holiday that are just around the corner. On the beach, in the mountains or in the forest, approximate punk remains salvific and Ludwig Von 88 are its most faithful servants.

Youplapunk to you all!

Mahalia is set to release her brand-new, sophomore album titled ‘IRL’ on July 14th with the pre-order set to go live on May 11th.The album will feature the singles ‘Terms and Conditions’, ‘Cheat’ and ‘In My Bag’ with album features including Stormzy, JoJo, Joyce Wrice and Kojey Radical.

Aptly titled IRL, Mahalia is particularly incessant on doubling down on vulnerability, internal reflection, and a desire to feel, in the realms of love specifically as demonstrated on her last project. “I feel like there’s even more personality on IRL. I want people to see me how I see myself.” Emboldened by her inflections, insights and young adulthood, Mahalia is not only breaking the mould on IRL, but determined to live life cognizantly. “This is a real reflection of the journeys I've had, what actually happened and a celebration of everyone who got me there. There are names and family members I mention because it all helped in shaping who I am,” Mahalia rationalises. With an innocent, yet assured gleam appearing on her face, “I’m so proud of this project, and so proud of how much I challenged myself to just let those stories out.”

Christened in many Grammy, BRIT, Soul Train and MTV Push nominations over the years, as well as two MOBO-wins for Best Female Act, and Best R&B/Soul Act, Mahalia still proves that beyond the accolades, an overarching dedication to persistence is what’s driven her to look inward, grow and ultimately challenge herself with each and every release to date. Standing as one of British R&B’s most successful contemporary faces, Mahalia continues to grow and establish herself in both her tact as an artist, but in building more robust ruminations sonically. As she evolves, her success becomes even more bonafide, both on home turf, but abroad too (she’s cracked the US Adult R&B Charts three times to date).

With her legion of 3.3M monthly Spotify listeners, the penultimate Saturday slot on the West Holts stage at this year’s Glastonbury festival and an opener performance for Adele at Hyde Park last summer, as well as a stellar prime-time Commonwealth Games closing ceremony set, there’s more territory to break. “I’m almost glad Love and Compromise didn’t go completely sky high, it’s given me room to keep developing, keep growing and go higher than I’ve ever been before. I’m so ready to bridge the gap now, I feel like I’m absolutely playing the long-game.”

On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.

Italy-born, Ibiza-based producer and DJ, Tuccillo, joins the roster of Kerri Chandler’s Kaoz Theory with ‘The Waves’ EP, made up of five original compositions.

Based on the balearic island of Ibiza, Giuseppe Tuccillo, better known simply by his last name is a producer synonymous with a groove driven sound which blurs the lines between House, Deep House, Disco and Micro House with unparalleled finesse. Over the years his music has graced the likes of Nu Groove, Kwench, 20:20 Vision, Defected and Holic Trax, run by Tomoki Tamura with whom he collaborates on the Doublet project.

Here though, Tuccillo’s latest works come via the much-loved Kerri Chandler helmed, Kaoz Theory. Title-track ‘The Waves’ leads the way and winds through bright stab sequences, crisp drums and processed vocal textures. ‘Breaking Leds’ follows next and divers deep with diva vocals, classic house chords, pulsating subs and skippy drums before ‘Apple Eyes’ shifts the focus over to reduced percussion, dubbed out stabs and a snaking bass line.

Opening the flip side is ‘Good Vibration’, as the name would suggest a feel good journey through a bouncy bass line, intricately programmed organic drums and hypnotic vocal chants before ‘Around Five’ then concludes the EP, piecing together gritty bass flutters, a bumpy drum workout, subtly unfurling atmospherics and psychedelic, swirling guitars.

Emotive sweetness from the one they call Gratts, coming correct via those ever-reliable purveyors of all things house, WOLF Music. Two dream-state gems from the Belgian-born, Australia-based DJ and producer, complete with a signature, deep and delectable remix from one of Dublin’s finest exports Glenn Davis.

On the A, ‘Pretty Lights’ is a bittersweet saunter beachside, sun setting in the distance, bass striding beside as keys dance across the horizon. A melancholic narrative over a blissful groove, Brandon Markell Holmes’ heavenly vocals add an undeniable elegance to proceedings, combined with Leïto’s deft touch on the keys. Subtle house music with soul from a producer that’s been toiling away for nearly 25 years.

Flip it to find ‘Polaroids’, a late-night trip across the underground with Tee Amara leading the way. Her sublime vocals are laid over a bumping, piano-laden beat, bit-crushed synths and all. A track that keeps that distinct soulful thread, yet laces it with a club-ready dose of the good stuff.

Glenn Davis then rounds off the package laying down a remix of ‘Polaroids’ that hits in all the right spots. A deeper journey, that sees Davis reworking the drums, dousing it in ethereal pads and dreamy synthwork, elevating Amara’s vocals to stratospheric heights. One for the dancers and romancers.

Josh Milan has been recording music professionally for over 30 years.He's played every role from artist to engineer in the studio.This project, Honeysweet, focuses on his production and musicianship.Utilizing only one musician on sax, Josh plays every instrument and sings every note on this project. His songs are packed with soulful dance floor grooves inspired by iconic, soulful groups like Brian Auger, Cymande, Pleasure, Africano, Santana and others.

"I wanted to do music that made me and my family feel good when I was growing up. It's the kind of music that families dance to at gatherings with a record player and no DJ”, says Josh. “Intros, Accents, Breakdowns, Bridges, and endings were all part of the music.” This music will transport Josh's audience to a place of musical freedom. This is music with, seemingly, no rules.

Josh Milan describes each track on the Honeysweet EP “Exodus” in his own words :

"Last Night Changed It All featuring Lawrence Clark on sax is the kind of groove that keeps its dance floor value while holding up the banner of true musicianship. This song was written after hearing a DJ set,where the DJ didn’t seem to be concern about staying within a musical box. He played all sorts of music in one set. I knew then that I’d branch out musically when recording.Rhodes, picked bass guitar, rhythm guitar and drum kit is all that's needed on this one.”

"Exodus the manipulation of major and minor chords in this groove make it complex and interesting. The listener is lead by the organ solo featured here. The song is a mental escape. A mental exodus complete with bongo section.”"Being Free is a message that captures the point of this entire project. Musical freedom and expression is where this project gets its
fuel. Horns, are included on this production. A true expression of soulful music. Being free should be all the time I'm your mind all the time.”

“Cranberries and Cream is my tribute to funk grooves as they were featured on records in 70’s. I’m a fan of that sound and I like to play by own funk grooves when I’m alone. This is one of the tracks on the ep I prefer to rock.”

“And So She Waits has eerie sounding pads in the background. They linger throughout the track. Popping in and out, as though they’re waiting for something. You will hear the change in mood once she is no longer waiting. The groove returns to it’s original state. Only she is no longer waiting, he is.”

“Crazy is me bringing the funk to dirty house music. Complete with house piano in the mix. The chords are unsettling. They are, in fact,Crazy. I though adding a horn arrangement to a house track like this would sound interesting and different.”Honeysweet “Exodus” out at all digital outlets and double pack vinyl set.

Repress!

KNTXT signs hotly-tipped techno artist Indira Paganotto for a new EP that showcases her unique sound across four compelling tracks.

Indira's father was a DJ in the iconic Goa scene in India in the 90s, so she grew up surrounded by colourful, emotive techno and psytrance. She has brought that to her own DJ sets and productions ever since she moved to Madrid to pursue her career. Now Indira is coming out with her best EP to date.

“I got to know Indira Paganotto when we opened up for demo submissions earlier this year,'' says KNTXT label boss Charlotte de Witte. “She immediately caught my attention with her unique take on psy/techno music. It feels very good to have her on board and I'm curious to see what the future holds for her.”

Indira adds, "I understand music as a state of trance where each track develops a journey and a story. Himalaya EP is the reflection of everything I learned since my childhood until today, the heritage and passion for Psytrance, the experiences in India, the connection with nature, as well as the feeling of freedom and strength like the gallop of a horse, the synths of Goa music, the love and the truth, which is what fills my life. Thank you Charlotte for understanding my language in such a true way. Ours is a real connection in such a sincere mental embrace, and I am proud to be part of your KNTXT family and to be able to show everyone who I am."

The EP ́s opening track, 'Takeshi', is a slick techno roller that is rippled with psychedelic melodies and bright acid lines. They bleep and squeak up top to create a hypnotic effect as the drums march on. 'Sultans Of Mountains' contains intense psychedelic synths waning about the mix. The drums are stripped back and urgent, and crashing hits and smart filters bring real tension as this one unfolds in an arresting fashion. On the other hand, 'Himalaya' has a deep and sleek techno atmosphere where astral pads and heavenly vocal coos make for a cinematic sound that will cast a real spell on the crowd. Last, but certainly not least we have the edgy and heavily textured 'Cobra' with its unrelenting drums, slapping hits and futuristic, psytrance-tinged melodies all designed to mess with your mind.

This is an EP packed with fresh techno, straight from the breakout star Indira Paganotto.

Glasgow’s infamous basement dwelling, La Cheetah, make good on their promise to bring you transmissions from the city and it’s surroundings by tapping Burroughs for the 5th outing on the clubs in-house imprint.

Never ones to rush things, the aptly named ’Strungout’ was first passed to Outer Zone over 4 years ago, alongside ‘NREM’ and the EPs names sake ‘The Whole Damn Drift’.

The tracks have seen multiple phases and iterations since, with the process baring 3 emotive tracks that rubber stamp the evidence of Burroughs lifelong dedication to his craft.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

During the summer youth program of 1970 and '71 at St Paul's Catholic church a young Tunnie Smith was singled out by Father George Artist for his outstanding singing abilities. He was soon introduced to Joe Delpit and Reginal Brown to sing along with their show and dance band "The 13Th Amendments. It didn't take long before Tunnie was a full member of the band and became a featured singer performing throughout Louisiana. After a year and a half of performing at nightclubs, military bases and universities Tunnie landed a record deal with Rick Hall's Fame/UA record label. His first single from 1973 was a wonderful mid-tempo number entitled "Finders Aren't Always Keepers" flipped with "Do That To Me"It gained National distribution and had some good success. Tunnie left Fame records and was introduced to Stax record executives Al Bell and John Smith. After signing with Stax, Tunnie met legendary writer and performer David Porter where they recorded an album which was scheduled for release around 73/74.Unfortunately Staxs association with CBS came to a halt and the project got shelved. From those session arose the wonderful "U And Me Together", leading on from the well produced "Finders Keepers" cut the song builds up with an epic 1:30 string and drum arrangement that really sets the picture for Tunnie to arrive with vocals way above his young age would suggest. A story of a boy and girl determined to make it and be the great combination that their love affair deserves. We can’t believe a gem like this has been waiting to come out and should have catapulted Tunnie to the next level or artist rosters. Alas, Tunnie went home and carried on performing around the Louisiana area with his new band Sweet Music Orchestra Fast forward to 1983 Tunnie whilst recording some vocals at River City Recording met Chicago producer and arranger George "Paco" Patterson. George was musical director and had worked with The Isley Brothers Wilson Pickett and many other well known artists. During this period Tunnie along with George formed a great partnership and along with some top session musicians record some incredibly lush, well produced and atmospheric songs The A Side "Join Together " is from the same session as "Dancing On Da Clouds" and could have easily be picked for his first single on Pass The Baton records. It oozes the same heavy production with opening piano cords and layered scatting then bosh, in comes the drums and Vox taking you on a mesmerising space like 2 step extravaganza. So, there you have it, once again two amazing slices of soul on one single from Tunnie Smith. Let’s hope this artist finally reaches his potential from that young man who started recording in 1973.

In anticipation of Kerri Chandler’s forthcoming album Spaces and Places, his first in 14 years, that sees the New Jersey legend celebrating club and soundsystem culture by recording, writing and performing a track in twenty-two of the worlds most distinguished nightclubs, Kaoz Theory drop the second in a series of vinyl album samplers.

Sampler 2, a sublime gatefold, double 12 inch package sees Kerri soak up and channel the atmosphere of Dublin’s District 8, Glasgow holy grail Sub Club, NYC’s Output and Lisbon’s crowning jewel Lux into four trademark Kerri cuts, doubled up with a further mix of each track for good measure too. Piano-laden deep house, heads-down groovers, vocal-tinged soulful gems, recorded directly from each space, it’s brimming with future classics from start to finish.

A trio of tracks inspired by ‘90s rave mark Roberto Capuano’s first Drumcode offering in two years.

The Napoli-born DJ, producer and sound designer has been a semi-regular contributor to Adam Beyer’s labels stretching back almost a decade. From the Inner City-referencing ‘Vertigo’, to the elegant techno on ‘Wilford’, part of DC150th release, and the 2020 collab ‘Mad World’ with good friend Luigi Madonna, his tracks have always been characterised by impeccable quality and a timeless sonic palette. Reinforcing his breadth, he’s also responsible for one of Truesoul’s greatest tracks to date, thanks to the 2015 classic ‘Never Stop’.

‘When The Lights Go Down’ EP continues the brain scrambling techno approach he displayed on ‘Mad World’, with all cuts featuring throughout the summer, including supports at Tomorrowland, Awakenings ADE, EDC Vegas, and Movement Detroit.

No doubt, Komakino´s „Outface“ has co-written the history of rave, trance and techno in the early 90s. Originally released in 1993 and produced by Detleff Hastik and Ralph Fritsch this tune was played by any DJ at any festival like Mayday, Love Parade and Tribal Gathering big time.


After 30 years it´s for sure time for a re-release and this package comes along with the remastered original G60-Mix plus next versions by the "creme de la creme" of techno universe, saying Egbert (Cocoon), Petar Dundov (Music Man) and Robert Babicz (Systematic Recordings). Enter the time machine and enjoy the good old days and futuristic sounds at the same time.

As the artwork on the EP depicts, "Darkest hour before dawn" is a dusky scenario representing the Dutch environment known as "the polder" in the lower lands. It questions all kinds of actions taken or not taken to protect, restore, conserve, innovate, or modestly leave the landscape to its own more murky outcome. The darkest hour, full of gloom, will be available around the spring equinox?

Portrait of tracks separately:


"Darkest Hour before dawn"

Is this piece supposed to be an ode to the ancient Dutch hardcore movement, that once and probably only then would be experienced to such intensity or is this still maybe just a little near reminder of it? Anyway starts this unlit track slowly and remains that way but maintains a fat-pumping pulse, possibly reminding of a soldier walking a death march. Settling up those launch pads further down the piece, near the bridge for shooting off some drum-fire 909 snares as if it rocketed. Then, suddenly, the extended delay of that snare turns into a psychedelic drone beside, attending to, or paranoidly chasing comrades soul in his journey throughout and above like a trustful partner?

Arp's LFO that is out of sync with the beat and is being outpaced by it seems to slow everything down even more; meantime creating a pulling, buggy-like effect to the due of all this.

The ascending and descending ghost-pad drawing into the grid of the (tone) key, thereafter parking in them for a while and cycling out again, creating a spatial flow of disturbance and anxiety.

Finishes it with a mountain-big reverberation of organized destruction and chaos. What at first sight seems like simply an innocent route appears to actually be a bit more complex one.


"Lovely memories"

The quite monotonous structure of Lovely memories catchy and groovy song is scanning through your brain files; revisiting, memorizing, and purposely lacking these few "dots above the I" that in some cases you'd gladly be feeling like to square fit it in yourself, of course, when necessary. Connecting the puzzling, dazzling flashbacks together to finally wrap up and perpetuate the pictured events for good, leaving traces of melancholy, loveliness, and perhaps even faith to it.


"24 hours"

Dinginess of 24 hours supposes to be felt in the guts.
The beat, steady with that snare on the 4 & 12, might not be one of the greatest inventions. However, the TR-08's drum line here lays a solid and fertile foundation for a reasonable house track.

Slightly detuned synths weave a scarf pattern around your upper body, and the lower layers carry a warm blanket for the underbelly, providing you with that cozy sense of consolation. Acidy pokes wring itself sneaky and penetrable around, slicing through the song's already solid flesh. Therefore, balancing its bitter sweetness throughout with these soft-hard saw-tooth drops of sourness.

"24 hours" conveys a dispatch or intercommunication that there is little time left to take actions/charge to fix and restore. Something big is about to come if it hasn't arrived already...


"At night"

This remarkable story is a bit out of ordinary.
At night appeared in the artist's dream just the night before his sick father was raised from death in the hospital and got just another year to live before actually passing away completely and anyway. ; ))
And thus also dedicated to the man.

*Vinyl Only*

Spirits From An Urban Jungle – A group consisting of JMJ & Richie (Moving Shadow/Good Looking) and Tekniq (Moving Shadow/Formation) who released two EPs on Whitehouse Records in 1994 and a recent, quickly sold out, EP on Vinyl Fanatiks sister label – Amen brother.

Their first release on Whitehouse was repressed by Vinyl Fanatiks in 2020 on red vinyl and sold out. This is a limited run on blue vinyl and is some deeper, Bukem styled tracks that pre-dated the ‘intelligent’ drum & bass sound that went stratospheric the following year.

Rolling in da shadows…

Dear listener,

On behalf of re:discovery records, it is with great excitement that we announce the release of Stryke – The Introspection Trilogy (1994-2022). rd011 features a track that is very close to my heart. My senior year in high school. I was heavily into chill-out music at the time. Labels like FAX, Instinct Ambient, Reflective, Astralwerks, em:t, Silent, Moonshine, Rising High, Warp, Exist Dance, Visible, Eye Q and others were giving me such a wide array of beautiful sounds of more subdued techno and rhythmic ambient music. I was buying every compilation I could at the time that looked remotely different based on the artwork, the unusual artist names or the tracks. I was soaking in everything I could under the chill-out style. That year 1994 I picked up the 2nd edition of Moonshine's 'United State of Ambience 2'.

It has so many good tracks on it. One track that always held a special place in my heart was Stryke's 'Introspection pt.1'. The simple but catchy melody layering. The easy atmosphere made me feel like I was floating in the ocean. The deep 808 bass notes (I hope one day you and I will hear this on an amazing sound system). The amazing strings reach a crescendo nearing the end. This track has so many simple but beautiful sounds on it. It's a great example of what I call sequencer-styled electronic music. At a time when producers layered tracks in more of a sequence then building or placing sounds. In 2021 I was able to get a hold of Greg Chin to see if he was interested in putting the track on my label and letting it breathe freely on its own side alone as the highlight of an EP. Greg was enthusiastic about the opportunity and told me that he always wanted to complete the trilogy he had in mind of a part 2 and 3. The ominous and eerie part 2 adds a terrific tension to the finale of part 3. The last being almost an updated part 1 really concluded the trilogy for me. Both parts melded together on side B pushing near 17 minutes. I want to thank Greg for letting us be a home to complete his journey.

- Tim Humphrey aka TIM aka errorsinspace