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The tree of good and evil knows no morality in this garden. You took a bite of the forbidden fruit -- but nothing happened. But you do feel the taste of the apple on your tongue, an abundance of amazing and fresh flavor. You look around the garden and see others partaking in whatever pursuit their heart desires. Joy, pain, love, wonder and death. Everywhere you look is a new presence, a new moment of bliss, dystopia and truth. You realize that this garden is your playground, and your destiny can be shaped like clay. Play in the garden, laugh in the garden, fight, die and love in the garden.

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

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

Liner notes:

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

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

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

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

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

We take the same and start again
A winter week at One Buck studio, 4 musicians. Ocman Dread and Ras Salam once again call on Jolly Joseph and Dr Charty to accompany them on guitar, bass, keyboards… The recordings of this session do not suggest the negative temperatures and the frost outside, the riddims are sunny and sound warm. Pinnacle Sound’s 5th album is in the wake of the previous ones, roots that make you smile.

Breath is life
The rest takes place at the Bat Records studio. The Dub Shepherds refine these takes where breath and grain mingle, in search of the authenticity that has made Pinnacle Sound special since its beginnings. With the help of vintage machines and magnetic tapes, the album takes shape and begins to take shape.

Many guests
Another Pinnacle Sound trademark, numerous guests behind the microphone are present on this disc as on the previous ones. We find the essentials: Marcus I and Jolly Joseph, to which are added new voices, like Payoh SoulRebel who opens the album with the unequivocal “Downpressure”: we are here to have a good time! Big news on this album, the presence of female voices! The trio The Steadies delivers the brilliant “Thank You”, and Nina Murple signs the ballad “By The Train”.

You will have understood, Pinnacle Sound unveils a rich and generous new album, 10 tracks from the most kitsch to the most profound, which will leave no one indifferent.

Seattle's own Manatee Commune (aka Grant Eadie) makes his long-awaited return to
Bastard Jazz with his fourth album, 'Simultaneity'. Lush and vibrant production is
familiar to his previous works, though Eadie has significantly matured in the activation of
space and character. A step away from standard songwriting, and a total disassociation
from lyrics at all, has made this record closer to the ambient genre than anything
Manatee Commune has released, all the while keeping one solid foot in the realm of
dance music.

'Simultaneity', as a whole, is an exploration of the collision between texture and time.
Captured recordings reminiscent of wind in wheatgrass, soft rain showers in the open
plains, and cascading beach sand wash over the mix, splashing into warm drones and
ascending melodies that cleanly syncopate against a steady rhythm. Though decidedly
electronic at times, a raw human element is ever-present in the form of a vocal motif:
just tiny moments of a loving voice lost in a sea of reverberation.

The album is a noticeably positive evolution from previous works. All nine tracks depict
a calmness and subtlety in musicianship, relying primarily on tenuous snippets of live
instrumentation and synthesis that hypnotically coil and coalesce with one another.
'Love Tone', the opening track, features Eadie's partner, a small voice memo clipped
and expanded into an ethereal vocal melody. A crisp felt piano delivers a complex
arpeggiation in 'Mosaic', a warm sonic bath scape reminiscent of Olafur Arnalds or
Kiasmos. Simple, undemanding bass lines drive tracks 'Path' and 'Faulted', though their
simplicity is contrasted with a variety of patterns that combine to create unique auditory
shapes, both building and landing in satisfying climactic movement. The album
culminates in the final track, 'Touch Theme', where a block of sound in the form of a
broad, open synthetic chord warms the ears, eventually twisting and shifting to rhythmic
chunks that shove against a familiar house rhythm.

Debut LP from House On The Strand whose production sensibilities fall somewhere akin to Boards of Canada, Toxe, Fourtet, Khotin & Croatian Amor.

House on the Strand’s debut full length release is a playful, wide eyed and vivid collection of songs that echo the simplicity and nostalgia of 00’s childhood. A collection of colourful and vivid synth tones, fragmented beats and samples across 35mins dance like shapes and colours behind closed eye lids or like imperfect early digital camera footage of summers lost to memory. Sonically, 'Heroine’'s tones and production sensibilities fall somewhere akin to Boards of Canada, Toxe, Fourtet, Khotin & Croatian Amor.

Robin Ordell returns to his own No Time County with Nameless Salesmen EP

TKP 003 Promo textTeakup continues his white label series with some goofy, wobbly, glitchy 4x4 techno tracks. Here the focus is on driving grooves and shifting drum work. Pillar of Light has bright splashes of tactile synth. Interpreter features vocals by Lofila that have been processed into the nonsensical. Plasma is meandering, explorative, but weighty. Various Round Shapes closes the set with some funky percussion, rolling synth, and a fluffy pad.

2025 Repress

Raffaele Attanasio drops his first EP for two years as he heads to SHDW & Obscure Shape's Mutual Rytm for his 'Quasar' EP.

A product of Naples' rich techno history, Italian DJ, producer and musician Raffaele Attanasio is an artist who represents the city's iconic sound while drawing from influences across the Atlantic and the genre's home of Detroit. Garnering plaudits from artists including Jeff Mills, Len Faki and Ben Sims, while releasing on Mills' Axis alongside Non Series, Third Wave Black, and his own Letter From Jerusalem imprint, Attanasio's eclectic sound now delves into Italian techno of the early 2000s as he makes his label debut on Mutual Rytm - revealing his first EP in over two years and showcasing a new side to his sound with 'Quasar'.

Title track 'Quasar' brings a tunnelling groove beneath floating melodies and zipping synths, before A2 'Asterion' combines dubby stabs and punchy kicks effortlessly. On the flip, 'Blazar' is a squelchy acid-led trip guided by sharp metallic hats, with 'Axial Inclination' utilising jittering drums and slinking bass to keep the energy levels rolling.

'Clara' shapes up the physical package, a skipping, spirited and classy cut fusing hazy textures and crisp percussion, while digital exclusive 'SGR' sees things return to acid territories, with purchasers able to access a darker impactful take on techno.

2024 Repress

After appearing on the label's recent 'Federation of Rytm II' release alongside some of the industry's most iconic artists, Steve Redhead is back on Mutual Rytm, taking over the label from SHDW & Obscure Shape with a 6-track solo EP delivering driving, furious and old-school influenced techno.

The eleventh installment of Mutual Rytm opens with the rolling grooves and choppy vocals of 'Blokhut', which flows smoothly into the highly effective drums and strings of 'Sea Choy', while 'Bruusk' closes the first side of the vinyl with a hypnotic, well-crafted 90s influenced techno anthem. On the flip side, the title track 'Eastbook Isle' is all about its rolling bassline, retro/electro influences and a mesmerizing melody, while on the B2 'Planet Phatt' closes the record perfectly with a classic old-school sounding cut, made to be the last track of the set or those early morning moments. Last but not least is the digital bonus track 'Monster Madness' and as the name implies it is the hardest of the bunch, with aggressive late night grooves wrapped in deep, repetitive and
evocative chords.

Undoubtedly one of his best works to date, the Belgian producer keeps up the good work with his second appearance on the label in the form of his Eastbook Isle EP.

2024 Repress

Lars Huismann is back on Mutual Rytm with the much-anticipated third volume of his 'Sounds From The Past' trilogy.

A core part of SHDW & Obscure Shape's ever more crucial Mutual Rytm imprint thanks to his timeless techno offerings as part of his ongoing 'Sounds From The Past' series, Berlin-based DJ/producer Lars Huismann's stock continues to rise release by release as a talent merging influences from the past with forward-thinking nuances of the future. Drawing on the early 2000 techno sound, he embellishes it with his own perspective, as evidenced by his earlier releases on the label. This latest six-track offering is another accomplished outing from this unique talent as he concludes the three-part series on the label in style.

The title track 'Sound From The Past III' opens up with a finely filtered chord groove that provides a smooth and hypnotising foundation. A subtle bassline, buoyant kick drums, and embedded vocal patterns harmonise with the synths, unveiling a smooth linear groove that soon sweeps you up.

'Fusion' brings more intensity with its barreling drum kicks, a dirty driving bassline, and melodies flashing by like headlights on an intergalactic motorway, with the overhanging pent-up energy inescapable. Next, 'Shimmer' rides on vast, heavy layered drums that are warm, and comforting as the track travels through a journey of diverse dub techno elements.

Like in 'Loucura', taken from 'Sounds From The Past II', Lars again showcases his strong influences from Brazilian and Latin music. On 'Estar Farto', the drums and bass are tightly interwoven, racing beneath bright and funky synth lines that bring ever-evolving shades of colour. A jazz drummer himself, the music transports into the groove via intelligent brass chord progressions and fine-tuned vocal and percussion elements.

It's straight dance floor business on the closing vinyl production 'Bittersweet', with its muted synth smears darting over more macho drum programming, while digital bonus 'Dusty Lick' is an unrelenting, jazzy, percussion-driven banger that hits hard and heavy in all the right places.

2024 Repress

Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.

Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.

Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.

Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.

Techno icons Damon Wild and Tim Taylor, renowned for their influential track "Bang The Acid" on the legendary Missile label, are set to make waves once again.



We are thrilled to announce the release of a brand new remix by the illustrious DJ Dextro, coupled with a fully remastered version of the original mix. This highly anticipated release will be available on black vinyl, bringing a fresh yet nostalgic experience to techno enthusiasts worldwide. Don't miss out on this revival of a classic that has shaped the techno scene for decades.

"Trauma and the shock effect of it - the leftover residue of harsh reality so impactful that it shapes the way you imagine, envision and calculate your position in regard to everything and everyone around you.
A new type of psychological radius evolves. Boundaries are reinforced. Relationships are recessed. A damaged brief system float aimlessly. Vulnerable to and for anything reminiscent of a worthy cause. The truth about facts became satirical monologue, dead end expressions that have no critical arrangement. We all know someone that either has been or will be"

- Jeff Mills


The Eyewitness reveals a habitual pattern in the way it symbolizes a mirror reflection of mankind in our most vulnerable moments. It is the forthcoming album of Jeff Mills and it is composed from the perspective of an unknowingly complicit bystander and it is at the very least, psychologically pathological in nature. What this release is essentially proposing is an admission to the diagnosis that no one is immune to shock and trauma. Not the accuser or the accused. And this abnormality s culturally and generally transmittable - handed down and passed over to one another disguised as righteous theatre.

As an artist, what Mills is notoriously known for is the perspectives and paths he chooses to approach hefty, complex, and sometimes, awkward subjects. The best way to recognize the narratives of his mostrecent album works such as "The Clairvoyant", an eerie transcending album that plays through like a Seance for creating a bridge to reach another dimension or "Mind Power Mind Control", a cautionary warning about the consequences of supporting deceit, mind control and mass mental persuasion is to start by first taking a moment to look at yourself in a mirror. He's suggesting sound as a reflection and what we might be able to see in ourselves. Proposing that we might be the problem and a solution. In the same vicinity of his recent solo albums, the direction, scope or target of The Eyewitness is first about us, then about it.

More than the few previous albums he's released lately, this one has a unique relationship in terms of imagery and visual treatments that represent the concept. The front cover shows Mills, neatly dressed in a black suit that appears to be caught in the act of doing something methodically as he cohorts to supportwith a bright white type of surgical light towards the viewer. Stark and in the act of.......something offensive - it could be some type of hypnotic machine at work. Other photos show him in darkened spaces. Remote and deep in thought.

Other clues are the titles of the tracks such as "Sacred Iridescent Mirror (The Pledge)": this refers to the act of installing value and credit to something ambiguous and "Menticide" which means the systematic effort to undermine and destroy a person's values and beliefs. In the opening track, "in A Traumatized World" we hear the narration spoken by Mills. In a language he specifically created for this album. It's a dialect that is designed to be undistinguishable, but spoken with a compassion that it could be sympathized with. In the latter part of the track, it reaches a climatic point. Meaning, "it" has happened. And the album is the evidence.

On extra note:

In this day and age,it's comforting to see a musician like Jeff Mills administer music conceptually without any conditions attached. The artistry and craft of using sound and rhythm to bring forth a concern, a warning or the result of a diagnosis to the listener.

Guangzhou-based producer and DJ COLA REN released her debut LP, 'Hailu' in June 2023, a ful-some ambient, balearic, and downtempo brew with a gorgeous sense of melody and spirituality that offers a soothing escape.

To celebrate the release, we have invited 8 talented musicians to the enchanting realm of ‘Hailu'. This remix compilation serves as a metaphorical exploration akin to the "Chakras," symbolizing the diverse energy centers within the human body. Through the collective reinterpretation of Hailu's original composition by 8 musicians, each imbuing it with unique hues and symbols, the remix re-flects varied spiritual essences and elemental qualities.

Lets Discult is back with its 3rd vinyl release. The same concept as always, a massive Various Artists shaped for the dancefloor. A solid 4-track EP with a deep, powerful A-side. Side B is all about groove. S/O to the artists involved in this V.A: Baertaub, Edine, Ollie Drummond and label heads Discult Soundsystem. Love from Lets Discult.

Hypnotone's iconic self titled mini album reissued!

Originally released by Creation Records in 1991, long out of print and now reissued, meticulously remastered and pressed onto pristine white vinyl.

Exclusive liner notes by band member Tony Martin "The Hypnotone Story: From Manchester to Creation" and including after hours favorite "Sub" and Balearic hit "Dream Beam" featuring vocals by Denise Johnson.

Formed in the vibrant milieu of Manchester's legendary Hacienda nightclub, Hypnotone emerged from the creative partnership of Tony Martin and Martin Mittler. Tony, initially involved as the in-house lighting designer, and Mittler, a bar staff member, fused their interests and talents amid the fervor of the late '80s Acid House movement that pulsated through the club. Their musical venture began earnestly after an introduction to Alan McGee, head of Creation Records. This connection would soon lead to a record deal, propelling Hypnotone into the heart of the emerging electronic dance music scene, releasing 2 albums, multiple singles and standout remixes for artists such as Primal Scream, Sheer Taft, and The Lilac Time.

With Creation Records' support, Hypnotone crafted their unique sound combining state-of-the-art digital samplers like the Akai S1000 with a collection of classic analog synths. Their debut self titled mini album includes after hours favorite "Sub" and Balearic hit "Dream Beam" featuring vocals by Denise Johnson. Hypnotone not only shaped their distinct sonic footprint but also influenced the broader trajectory of electronic music. Their journey, marked by innovation anda deep affinity for Manchester's music scene, exemplifies the transformative power of the era's cultural and technological shifts in music.

This is another must have for collectors and fans of early British (pop) house music, and very happy memories.

On his new album always centered at night, moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

“Because of that randomized freedom, I’ve been on the receiving end of so much genius work,” says moby. “And the result has been one of the most exciting, surprising things I’ve ever done as a musician, and it’s one of the most worthwhile things a human being can do: make tender, gentle, vulnerable music that’s a clarion call to act.”

Featured on this album are some of the most exciting vocalists of our time. Some are well-known - such as serpentwithfeet on the breathless daydream of a song ‘on air’, the jazzy soulstress Lady Blackbird on the haunting ‘dark days’, or the astounding poet and activist Benjamin Zephaniah on ‘where is your pride?’. Other contributors have been found in relative obscurity - such as friend and vocalist Brie O’Banion on the Cream cover ‘we’re going wrong’, or Sheffield poet laureate Danaé Wellington on the powerful ‘wild flame’.

“The goal for always centered at night is to do something uncompromising,” says Moby. “To make music that is emotional, atmospheric and potentially beautiful. And what better use of this weird privilege I have than trying to foster creative expression that has uncompromising integrity?”

Since 2019 Demdike Stare had been playing edits of Dolo Percussion’s bare-boned breaks in their DJ sets, eventually sharing them with Dolo’s Andrew Field-Pickering (Beautiful Swimmers, boss of Future Times) and fomenting a creative fusion that hits at the square root of their shared tastes for unruly, deadly rhythms. In a transatlantic back ’n forth - or what Kodwo Eshun termed a double refraction - they juggle the rudest aspects of UK hardcore, as derived from electro, breaks and garage-house - that would feed into Dolo’s pool of sound, and return to the UK via the likes of breakbeat wizard Karizma, who was a key touchstone for the whole late ‘90s broken beat movement key to Demdike’s tastes.

Still following the thread? It’s not that tricky - both US and UK operators favour breakbeat music more than anywhere else, and this devilish hook-up is the epitome of a conversation ongoing for generations now. At each parry, the three cuts here are exemplary of the way DJs, producers and dancers on both sides of the pond have pushed each other to new heights in a feedback loop designed to make the dance throw the maddest shapes.

‘DOLO DS 1’ racks up a full clip of flintiest breakbeat hardcore, pivoting gasping samples inna dervish of ruffneck syncopation, ruggedly distinguished from the pitching, gritty drum machine chicanery of ‘DS DOLO EDIT 1’, and their super crafty sidestep into the offbeats, hingeing around ghost snares and practically spectral levels of percussive suss in ’DOLO DS 2’ which basically sounds like a prime Autechre tumbling thru dub.

Fata Morgana's concept draws from Ispirian ́s live sets in the USA. Then, back in Europe, Vasco refined his performance and the live takes were finally mixed and mastered in Madrid. The project sees the light in 2023, after the global impasse the world went through, as a two EP installment: Fata Morgana I & II.

Fata Morgana ́s second installment is a 4 track EP that kicks off with a bass- driven cinematic promise (Ohdee) which unfolds in titillating layers, crafting a superb lushness and building up momentum (Flashing on Flushing) and then, fiery reaching climax in a vague, abstract electronic background (Escape into the Sunset) only to usher the shape-shifter (My Pleasure), an edgy alt-ambient closer with a grounding dialogue on pleasure and pain which is Ispirian ́s reflective statement.

2024 Repress
Alberto Pascual, also known as Ribe is a well seasoned veteran in the Spanish scene. An expert synthesist and modular weirdo, his sound palette is amazing. If you have been so fortunate to enjoy his live PA before these turbulent times, you've got the precision and hypnosis he always provides.

This release has a physical side and a digital one, with four and seven tracks respectively, including two Oscar Mulero remixes.

"Palette" opens the release, a lone kick drum squashed in reverb sets the pace on the first bars while abstract details appear randomly and a continuous sequence grows from below. The tension is kept all over the arrangement, not additional percussive elements, just the few principal elements going back and forth.

"Shapes" has a Basic Channel approach soundwise, texturized techno as its best, exploring the dark corners of sound design, and again all relaying on a linear and mental arrangement.

"Ad Infinitum" is remixed by Oscar Mulero in his first remake, transforming the formerly broken and abstract Ad Infinitum is a danceable intelligent weapon.

Original version of "Ad Infinitum" follows, providing the experimental slice of the EP. Broken rhythms, shuffled components and low rated tempos.

After huge demand, the instrumental mixes of NJOI’s unreleased tracks are now here in the shape of 'The Dubs', complimenting the duos recently unveiled 'Hidden Gems' vol 1 & 2 and their 'Collected' album. These iconic tracks became a huge part of NJOI’s original live set and the iconic mixed 'Live In Manchester' album over 30 years ago. After huge demand since their televised 1990 Brixton performance, they're finally available as fully extended individual recordings.

2026 Repress!

Italian musician, composer, producer and DJ Sergio Sturari aka Serge Funk is one of the most successful disco-house/funky-house artists of recent years, with his productions often sat atop the Traxsource and Beatport charts. This latest release on Groove Culture’s 7 inch sub-label showcases two of his most accomplished creations.

Serge's most famous track, ‘You and I’ takes the A side. An infectious guitar groove provides the hook for this uplifting vocal-led disco house anthem that has already racked up more than 1 million plays on Spotify.

Flip it over to find ‘Yeah Yeah’ – an unmistakable funk jam with a punchy house beat to keep the bodies moving. Flavourful horns dance around slap bass, spiritual organs and juicy guitar riffs tied together with those energetic funk vocals.

Early DJ Support:
Mousse T, The Shapeshifters, Jamie 3:26, Seamus Haji, and Cevin Fisher.

Adiel's "Il Significato Delle Parole Remixes" EP Returns with Captivating Remix Package includes Donato Dozzy & Pinch

In the ever-evolving landscape of electronic music, where sonic landscapes morph and intertwine, Adiel's "Il Significato Delle Parole" EP stands as a testament to the power of artistic collaboration and sonic exploration. Now, this boundary-pushing release returns with a mesmerizing remix package, featuring reinterpretations by acclaimed artists Donato Dozzy, Pinch and Adihell.

Originally conceived as a collaborative effort between Adiel and musician Flavio Accorinti, "Il Significato Delle Parole" delves deep into the intersection of techno and experimental sounds. Its tracks serve as conduits for a journey through fragmented realities, weaving together elements of cyberpunk futurism and introspective dreamscapes.

Leading the remix charge is none other than Donato Dozzy, whose masterful touch breathes new life into the EP's ethereal atmospheres. His reimagining of "Nulla Resta" takes listeners on a hypnotic voyage, layering intricate textures over a pulsating rhythm, while maintaining the track's emotive core.

Joining him is Pinch, a visionary producer known for his genre-defying approach to bass music. His Remix of "Sospesa" injects the track with a sense of urgency, blending dark trip-hop aesthetics with futuristic sound design to create a truly immersive sonic experience.

The EP also includes Adihells' captivating remix of "Nulla Resta," returning after leaving an indelible mark on the original release. This rendition adds another layer of depth and intrigue to the already mesmerizing collection. It's worthnoting that Adihells isn't merely an alias but rather a darker iteration of Adiel, embodying a distinct sonic persona.

Adiel is a visionary artist whose sonic explorations defy conventions and push boundaries. With a keen ear for intricate soundscapes and a fearless approach to experimentation, she continues to captivate audiences worldwide.

With these remixes, Adiel's "Il Significato Delle Parole" EP transcends its original boundaries, inviting listeners to explore new dimensions of sound and emotion. As words continue to shape our understanding of the world, this release serves as a reminder of the transformative power of music to unite and inspire.

Embrace the journey and let the music speak for itself.

Cando return to Le Chatroom to inaugurate the label’s first full length EP, backed with remixes by Bakongo and Kouslin and accompanying illustration and graphic design by Charlie Maclagan (AD93/Only Ruins/Shapework).

Since their debut on Livity Sound and subsequent appearances on Par Avion, Pressure Dome and Le Chatroom, Cando have been carefully refining their percussive bass heavy sound. The ‘Clutch’ EP is confident and distinct, from all-out slammers to warm and fuzzy synth excursions — the sound palette is diverse but has Cando written all over it.

10 Years Anniversary compilation LP.

Ten years ago, on 21 April 2014, Russian enclave of the Baltic Kaliningrad-based trio Blind Seagull started off its adventure in the soon to be known as Sovietwave aka Russian post-punk underground. Tean years later they have accomplished to release nine full-length albums on all sorts of limited edition formats such as LPs, CDs, tapes with most of them being sold out for years.

It was time to bring many of these tracks back to life, picking up the best among them and reissuing for the global post punk/darkwave niche.
Fifteen cuts previously released by labels like Detriti, Sierpien, Pine Hill through which the band led by Denis Zarubin has shaped its own brand of icy coldwave, one pretty classic and extremely fresh and contemporary at once. On top of these we have one more track exclusive to this release which is a eurodance-oriented remix for their minor hit Animals Die in the Scaffolding. Think of a bunch of goth kids screwing around at the local carnival and you’ll get the vibe!

Decade Of Effort is due on April 21, 2024 on white vinyl LP limited to 300 with fairy-tale artwork by the band enhanced by the magical lettering of young Spanish artist Sara Fornés.

G Version III from Kyoto Japan arrives on Digital Sting via a correspondence going back a few years that grew out of mutual musical connections and a deep appreciation for the Jamaican soundsystem diaspora. G Version grew up with a love of Hip Hop, R&B, and Reggae and had a musical revelation at a Lake Biwako sound clash event as a teenager that was formative in spurring a deeper dive into Dancehall and soundsystem culture.

After some time spent studying in the UK and returning to Japan, working at Jet Set records along with meeting heavy weight producer Element the beginnings of her future musical output began to take shape. Downtime during the pandemic provided the time to concentrate on production. G Version's sound has a retro futuristic feel, equal parts Dancehall history and esoteric dub leanings, particularly in tune with the more experimental branches of 80's-90's UK Dub and Steppers. Influences being stated G Versions sound is thoroughly distinct and imaginative, not content to conform to any obvious genre tropes. Also included in this release are two dubs of G Version tracks by Digital Sting mainstays Feel Free Hi Fi.

G Version III- Scenery From Double Glazing DS008 Digital Sting Records

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

To describe an album as "electronic music" has long been an understatement. "Romanticismo siempre" is a good example. Recorded mainly using synthesizers, the album travels a territory that borders on the experimental and the dancefloor, entering at times in both fields.

Andrés Téllez, Delone, states in its title a clear commitment: "an ode to life, to never lose that passion that is the engine that pushes everything, no matter how many obstacles there are along the way, such as love, madness or death". The need to express this is at the origin of the record.

His musical language is rich and varied. Among synthesizers, analog experimentation, drones and psychedelia, many of the subcultures that have shaped what was once called "electronic music" appear. Flashes of trip hop, new age and proto-electronics are amalgamated throughout the album, together with hints of mutant house, breakbeats, IDM and trance. Other genres peripheral to club sounds, such as post-rock or kraut, also appear.

The idea of creating something that could almost be considered a soundtrack is present, but Delone's singularity has taken the album down a different path, using his own musical vocabulary to articulate a narrative that leads him towards his desired destination, keeping experimentation and dance culture, constants in his career, very much in mind.

In 2014 and together with his partner and friend Carlos Trujillo, Andrés created Riverette, a record label that became a record store in the center of Madrid, with his studio in the basement. From there he unleashed his productions as Dos Attack and his first works as Delone. Riverette quickly became a key creative pole in the Spanish electronic underground, and the label has released records by Legowelt, Kornel Kovacs or HAAi.

Throughout the eleven tracks of "Romanticismo siempre", a story materializes in which the protagonism falls on the adrenaline of passion. Through a very personal sound, with a certain introspective vocation, Andrés tells us a wonderful tale with the help of exquisite arrangements and a rich expressiveness.

"Romanticismo siempre" is a polyhedral album that can change with every listen, with every track, and reinterpret itself almost with every playback. It is a complex record, delicate and full of nuances, at the same time charged with a powerful and primitive energy.

BQD TRAX serves up release #4 with another producer invited onto the scene in the shape of house groovemeister Phil Evans.

This year, we’re dropping the highly anticipated 2nd edition of VARIOUS ARTISTS. Each artist was handpicked to ensure the vinyl delivers a flawless vibe.



We’re excited to welcome these incredible talents to our musical family. Brace yourselves for a release that’s as sensational as it gets!