Cerca:base

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

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

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

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

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

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

Brixton based polymath Simon Jefferis has been setting mouths ajar with his expertly crafted, atmosphere-heavy beats over the past few years. With his reputation as both a talented instrumentalist, and adaptive producer steadily circulating through the city’s hip-hop undercurrents, 2020 sees Jefferis return to rising label DeepMatter with his debut LP Vibrations.

From the golden era energies of ‘Back 2 Ours’ featuring Austin’s Abhi The Nomad, through to the silky-smooth melodies of ‘White Rabbit’ (featuring the incredible Rosie Lowe on vocals) and shoulder swaying rhythms of ‘Something In The Water’, ‘Vibrations’ is an expertly crafted production masterclass from start to finish. With ease, Jefferis demonstrates the breadth of his musical capabilities, turning his hand to guitar, keys, drums and bass (with a little help from his friends along the way) with incredible results. Head nod inducing beats, jazz infused keys and interweaving make this a standout record amongst the already sonically rich London jazz scene.

This is the second appearance on our Various Artists catalog for both Berlin-based acts, featuring individual and collaborative tracks from the artists.

Infamous for their industrial/EBM-leaning techno signature sound, Unhuman (Manos Simotas) and New Frames (Mathis Mootz/The Panacea/Squaremeter and David Frisch) join forces to elevate their production style even further.

Dancefloor killers for heads of diverse tastes, featuring one solo track from each artist per side, along with three complementary collaborative compositions. Side A showcases New Frames' fresh-sounding crossover of industrial and dubstep with the track "Dubplate", accompanied by the hard-hitting collaborative stompers "Commander" and "3rd Eye Cataract".
On the flip side, Unhuman delivers his own broken beat-industrial techno beast, "Cerberus", while the release concludes with the final collaborative techno track, "New Force".

Industrial techno heat brought to you by long standing specialists of the genre!

For the second edition of Speciale, we fly to Basel, Switzerland.

It is a pleasure to share this EP with Ben Kaczor, an artist already engaged in managing his label KCZ/CZT, releasing on Dial Records, and performing all over Europe.

Ben presents two dark and hypnotic tracks that defines his deep musical taste characterized by hypnotic grooves and synths soundscapes together with melancholic basslines.

The other two tracks are produced by Orion.

Imagine this record as a single entity: a journey into a dusty club where grooves and melodies guide you towards dawn.

This time Orion Records returns to club music to define their vision of Techno.

Welcome on Vibes Addikt !!
Label Owned by N.O.B.A, An artist with a large number of tracks that have been lucky enough to top the Beatport Top 100, but also the support of big names such as Amelie Lens, Mark Sherry, Nusha, Frankyeffe, Klaudia Gawlas, Frank Biazzi, Charlotte De Witte, Mha Iri, Sebastian Groth, Steve Shaden, Yves Deruyter ... and many more...

This 3rd Vibes Addikt present Dimitri Cooman
Belgium Techno and Hard Techno artist who play on all events from the legendary Cherry Moon Club (Lokeren.Be)

Born near Brussels, Dimitri fell in love with music early on.
The interest in house –and techno music grew since the start of going out to small venues and raves at the age of 16.

Soon he visited one of the mayor Belgian clubs, Cherry Moon, there everything changed.

Impressed by the "the club, the people, the music" he quickly fell in love with 'The House of House' and that love for the club would not change until this day.
During this period he started mixing himself, playing the music he loved from his homebase.

Since a while ago he is an official resident and one of the driving forces behind the Cherry Moon events, runs the techno imprints Cherry Moon Records & Nachtkabarett Recordings, manages the brand and parties of 'Techno Avenue' and tours with all of this all over Belgium whilst also playing on numerous techno events.

His EP's and remixes have also been released on Cherry Moon Records, the Berlin based Db130,the italian labels No Response Records and SMR Underground, Strohm Records, Dark Distorted Signals, Bonzai & Ithica Records, Sonaxx Records and soon Reload Records, DIKI records and Vibes Addikt.

He present on Vibes Addikt "Vanished Technologies" an Underground EP including a remix from Fhase87, French Artist who have support by Mark Broom, Ben Sims, Dj Rush ... and others big name

EP already supported by Frank Biazzi, Frauleinz, Samuel Sanders ... and many more

Dark Entries again shines a spotlight on bathhouse disco don Patrick Cowley with a newly remastered release of Kickin’ In. Although Cowley tragically passed from AIDS-related illness in 1982, he left an extensive archive of unreleased tapes, many of which Dark Entries has had the honor of releasing. While working as a lighting technician at The City, SF’s disco cabaret, Cowley saw rising star Frank Loverde perform. Cowley asked Loverde to contribute vocals to some material in progress, and Frank, Linda Imperial, and Peggy Gibbons joined Cowley in the studio. The resulting songs included “Kickin’ In,” a 9-minute cybernetic disco stormer that taps into the essence of Cowley’s hi-NRG sound: equal parts spaced out and zoned in on the dancefloor. In May 1978 Cowley joined Loverde on stage at The City to perform “Kickin’ In” as they opened for disco diva Sylvester.

“Kickin’ In” was initially released in 2015 via Honey Soundsystem who found the tapes in the basement of Megatone Records owner John Hedges. This newly remastered version was made possible due to the discovery of the original multi-track recordings of "Kickin’ In," allowing for a fresh mixdown by Jim Hopkins as well as the creation of a new instrumental version. Also included are two impeccably sleazy Cowley jams recorded in 1980, “Thief of Love” and “Make It Come Loose.” Cowley narrates excerpts from his erotic journals on these raunchy slow-burners, capturing the vibe of SF’s leather bars and backrooms. “Thief of Love” features frequent Cowley collaborator Paul Parker on background vocals. This reissue of Kickin’ In includes features an illustration by Gwenaël Rattke that originally appeared Cowley’s erotic journal, Mechanical Fantasy Box, as well as a postcard with lyrics. “Patrick parted the veil and entered a dark world of forbidden vices, wondrous musical panoramas and bold, strident, hopeful possibilities. Patrick brought the future to us and laid it at our feet.” – David Diebold, Tribal Rites

Next up on Breaker Breaker: 4 cuts of retrospective, video-game-inspired Jungle from Tokyo based Submerse.

Across previous releases on Apollo (R&S), Hospital Records and Project: Mooncircle, Submerse's sound has traversed Jungle, UKG, Autonomic, HipHop / R&B and Footwork.

Here, he comes full circle with a record named after the scarce and sacred space on a PS1 memory card. Fifteen Blocks scatters deftly cut breaks, convivial pads and tightly sprung bass tones with a clear sense of mastery and ease.

Repress!

Can you feel it? It’s the “Rush Fantasy”…Striking whilst he is hot is Berlin based Norwegian - Henriku. He follows on from his sought after “New York Popcorn” EP with another atmospheric house and minimal exploration, laced with distinct rave energy. The animated four-track vinyl lands on Oslo based, Det Gode Selskab, an ongoing chemistry between artist and label have led to this hedonistic trip, captivating club sounds from a producer in his element. Live out your fantasy, and your wildest dreams.

Taking the lead is “I Do”, a seductive trip of house nostalgia, driven by chunky drums and a pulsating bass line, teased into the trip by the provocative vocals. The title track “Rush Fantasy” strips things back mechanical minimalistic movements converse with a hypnotic sub heavy bass, swaying under the influences of the after party.

On the flip is another steamy encounter with “Pillow Talk”, the vintage samples go hand in hand with the rugged and raw energy of the track. Mysterious textures melt your mind in “Nicotine 4 U”, a smoky vibe for the small hours of the night.

Henriku’s free spirit lives up perfectly to the DGS ethos, a safe haven for artistic freedom, making this a perfect home for the “Rush Fantasy” experience. “It Feels Sooo Good!!”.

Slave To Society (ex AnD) returns to Natural Selection with a white-hot industrial Techno EP, entitled 'Ai Invasion', accompanied by an IDM-infused remix from hard electronica duo; Somatic Responses.



Format : 12" Vinyl / Digital



Mastered by Dadub Studios, Berlin. Cut by Simon at The Exchange Vinyl.



After a decade of redefining techno dance floors as AnD, Andrew Bowen returned to his experimental, hardware-focused roots as Slave To Society in October 2019. Since then he has seen his music released by highly revered institutions in the world of hard techno, noise, breakcore, IDM and industrial electronica, such as PRSPCT, Pure Hate, Ohm Resistance and BANK Records NYC. After forming a close connection to Natural Selection in recent years, Slave To Society returns to the London based imprint after releasing via their VA compilation 'NSUKR' with his track 'Tundra', followed by his remix of Kamikaze Space Programme's 'Dust To Dust' from his physical EP entitled, "Ashes to Ashes, Dust To Dust", released on Natural Selection in 2022.

In the form of a 4-track physical and digital EP, 'Ai Invasion' is a sonic exploration of the symbiotic relationship between humanity and technology.

Slave To Society uses carefully designed futuristic soundscapes and atmospheric textures, layered with AI generated vocals, combined with heavy and fiercely unpredictable drum elements.

Expect advanced, experimental hard techno and noise, fused with powerful low-end muscle, raging hi-hats, fragmented percussion and augmented amens.

The release also features a razor sharp and well-placed remix of track B1 - 'Robot Dementia', courtesy of legendary hard industrial electronica duo; Somatic Responses.

In true Slave To Society fashion, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

'Ai Invasion' challenges listeners to question the impact of artificial intelligence on our society and the implications of our relentless pursuit of technological advancement.

microCastle’s second offering of 2024 welcomes Upercent back to the label for a new EP. Since first appearing in 2011, Valencia based sound architect Upercent has developed a distinct brand of electronic futurism. An enthusiastic attitude towards experimentation, coupled with extraordinary creative vision has made the Spaniard one of the more unique artists to emerge in the last decade. Upercent’s first microCastle project, 2018’s 'Vuit', not only served as the imprint's second ever vinyl release, but continued the Valencia resident’s mission to create contemporary club tools and destabilizing sound explorations. Seemingly in constant motion moving forward, Upercent would go on to record projects for Diynamic, Kompakt and Watergate, amongst others, firmly establishing his place amongst the underground’s premiere talents. Now more than five years on from this elusive string of projects, it has been Habitat, Innervisions, Sum Over Histories and TAU which have been vehicles for his creative swell over the last two calendar years, reminding us of the niche he carved out during his initial rise, as he continues to maneuver himself through the confines of electronic music. With 2024 being highlighted by ‘Falling’, a two-track collaborative project with Germany’s Adana Twins, Upercent now returns to microCastle with ‘Persevere’.

Beginning with the organic monochromes of ‘Oracle’, Upercent’s craftsmanship reveals itself across the slow-burning piece, one where funked-up beats and rubbery basslines get peppered with skittering rhythms, thought provoking vocal samples and glitched-out electronics. Its subdued yet swing-heavy suspense while perfect for an astute dancefloor, also acts as an ideal segue into the hopeful qualities of ‘As It May See’. Paul Brenning’s vocals feature here, falling like raindrops atop woody kick drums and clustered sonics, eventually giving way to an interlude of soulful phrasing, coaxing beautifully with granular textures and ghostly swirls of wind, before tastefully moving forward as panoramic arps emerge for a mesmerizing finale.

Upercent’s distinct aesthetic continues on the fourth selection ‘Cult’. Perhaps the most direct composition on the EP, its six-minute running time quickly sets you adrift in a techno-inspired wasteland of deconstructed vocals and retro chord stabs. Both intimate and wide-ranging, it's a series of crystal-like drones which engulf your attention whole, creating a sombre, ceremonial backdrop for misty glitches and fog-like swells to create a scenic storyboard. Reverberating hits and twitchy rhythms fill the space of closer ‘Blau Cel’, a production where Upercent crafts a trek through mountainous dancefloor trails. Unbound by gravity, orchestral gestures sweep across mossy plains and frost-filled sighs, offering listeners another immersive journey into the uncharted realms of musical expression.

The Berlin-based artist Simina Grigoriu debuts on DCLTD. The opener ' Declare Me' steps up the energy with searing intent, while never losing a sense of deep brooding atmosphere. One for the marathon Sunday afternoon sets. ‘Astral Waters’ bubbles away with tight drum work and a deep Motor City vibe. ‘Technology of Prayer’ mixes late-night techno soundscapes with driving rhythms. An essential tool for bridging moods during longer sessions. And finally ‘The Right Calibre’ positions tribal rhythms at the fore for a rolling cut that doesn’t take a backwards step from creating plenty of tension through the mid-section via a stirring break.

there’s a nu name on the map. interloot strives to equip the
delicate nightlife companion and savvy dance§oor
connoisseur with heavy artillery. for their long-awaited debut
they team up with the slick bavarian based decent rides who
supply a versatile house in¦ltrated dance voyage. starting of
with the title track »always a choice« the duo delivers an
atmospheric synth heavy opening tune, that forcefully
accelerates into a driving §oor¦lla. the following »stuff in
space« gently makes its way through the groove with a
moody percussive loop soon to be succeeded by a weighty
electric baseline for proper pressure. after §ipping sides
»under the carpet« builds up on a stomping tribal infused
percussion rhythm, steadily unfolding it’s raw and sweeping
energy. the grand ¦nal is completed by well known berlin
based producer johannes albert, contributing an uplifting
take on »always a choice«. so now, choice is yours. cheers.

Launching their new collaborative dancefloor release series, the Bangkok-based duo Chalo and Vell, with support from MetalMetal, proudly presents "Made From Moss." Inspired by the simple, flowerless plants, the EP and release series present a collection of simple and driven club-focused rollers, ideal for any dancefloor.
The lead track, "The Man With No Teeth," opens with a growling bassline and cracking hi-hats throughout, balanced with dynamic vocals that pop and sizzle throughout the many drops, sure to have dancers moving. Followed by "Wrong Portal," Chalo expertly crafts a driving acid bassline and simple yet flowing synths throughout, keeping the pulse and creating a dynamic sense of groove. The B-Side opens with "MarinExp (Club edit)," a track featuring Thai musician MetalMetal. The track cuts with breakbeats and tambourines while keeping Chalo's unmistakable driving kicks and cuts. "MarinExp" is balanced with a breakdown of flowing synths and dynamic vocal shouts. The final track of the EP, "Latency Phantasy" (Chalo and Vell), shows both artists at their best: a techno-flowing acid roller equipped with chopped vocals and surprises throughout the track.

Continuing its streak of lit releases, Modeight Records now shines a light on an exciting new Romanian talent Raz, based in Manchester. Injecting some sick minimal house grooves, infectious energy into 4 original compositions. The young artist captivates the listener with his raw and rollicking flow. From the mega fun, head bobbing bassline jam and smooth vocals on "Time Chamber", to the slick electronic riffs of "Fun Ensemble". The deep, sub sonic wiggle of "A Sharp Delay", Raz carves out a sophisticated and hella enjoyable sonic journey diving into "Orange Glide". A breakout release for an artist who's definitely gonna be one to watch in the future.

Initially released exclusively in digital format two years ago, the already cult favourite Whispers Of An Ancient World finally makes its way to vinyl courtesy of Mystic & Quantum but in highly restricted numbers. Featuring artwork by Kilian Eng, this red edition offers a mesmerising auditory journey. Ambient landscapes and evocative ancient ceremonies coalesce with explorations through lush jungles, tranquil acoustic melodies, and edgier dub motifs hinting at a looming dystopian future. Contributions from artists such as Diagonal, Mason Bee, and State Azure enrich its allure as the whole thing adds up to a cinematic tapestry that captivates with atmospheric depth.

The initial release from Washington DC based Enman Recordings is a hypnotic deep groover centered around an evolving synth lead that builds to create beautiful tension. The remix is helmed by none other than Parisian House legend, Franck Roger. His remix has his signature bounce, guaranteed to lift any dance floor! The Bside No Accident is a tough dance floor banger with carefully selected jazz horns and spoken words from one of the icons of jazz.
The EP closes out with Fall In, a stripped down house groover with heavily saturated drums. It adds beautiful piano samples and vocals to lift the track. Great for getting those dance floors warmed up.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and shortly after returning with the first ever vinyl release to attend to James Tenney’s legendary “Postal Pieces”, the label is now offering a brand new, ambitious work by the American composer Ben Vida, entitled “Vocal Trio”, conceived, performed, and recorded in Bremen, Germany, during the Spring of 2022. A truly stunning work of compositional conceptualism, combining the ideas of systems based synthesis with real-time vocal collaboration - issued in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score - it’s a landmark in contemporary experimental practice and arguably the most forward-thinking and exciting piece by one of the most exciting American artists working today.

Ben Vida first emerged during the mid 1990s within a loose constellation of experimental musicians, centred around a performance series of improvised workshops at the Myopic Bookstore in Chicago, alongside Jim O'Rourke, Kevin Drumm, Chad Taylor, and the other future members of Town and Country - Jim Dorling, Joshua Abrams, and Liz Payne - the band within which he would gain widespread recognition over the following years. Like many other members of that scene, Vida remains a restless product of a fleeting context - Chicago during the 1990s and early 2000s - continuously undermining concrete notions of idiom and signifier within a practice that witnessed him rendering bristling abstractions within Pillow, glacial melodies with Town and Country, the art-rock mayhem of Bird Show Band, and the angular, driving indie rock of Joan of Arc, before becoming immersed in a practice of systems based synthesis, beginning in the 2010s, that guided much of his first decade of output as a solo performer and composer.

As early as 2013, he began to incorporate acoustic sound sources - specifically the human voice - into his work. It was this shift, evolving and refining itself over the last decade, that underscores radically the leap in his practice represented by “Vocal Trio”, a work that encounters Vida composing for the human voice with the ideas that allow for synthesis - transferring the underlying concepts and structures of both subtractive and additive synthesis to the acoustic realm - without using a synthesiser.

During the Spring of 2022 Vida was in Bremen, Germany, collaborating on a dance piece with the choreographer Fay Driscoll, when the production fell into delays. Finding himself with time on his hands, a space at his disposal, and the company of two dancers - Amy Gernux and Lotte Rudhart - who were also singers, the idea for the piece - to utilising the larynx as audio paths (multi-harmonic or harmonically pure) while conceptualising each person’s mouth as a filter to sculpt the timbre and resonance of a given tone - began to take shape in his mind. Considering how typographical scores might be developed into a non-linguistic social framework, Vida drafted a single page of text - what became the score for “Vocal Trio” - accompanied by a set of harmonic suggestion and loose parameters, seeking a core meaning from each word's phonic make-up by each of the three singers (Vida, Gernux and Rudhart) singing as slowly as possible.

At the core of the pulsing vocal drones - intoxicating, harmonically rich long-tones - that make up the duration abstraction of “Vocal Trio”, is Vida’s regard for music as a social space. It is an experiment that seeks liberation through the act of collective music making, by challenging the terms through which the act of composing is perceived and then relinquishing control. The piece’s rehearsals were simply the three performers hanging out, allowing their knowing each other and natural dynamics to contribute to its form as the score, before recording during a single afternoon at the end of a number of days sharing company and space.

Creatively visionary and groundbreaking on numerous terms, as well as being intoxicatingly beautiful and remarkably listenable, Ben Vida’s “Vocal Trio” represents a striking step forward for one of the most ambitious and outstanding sonic artists working in the United States today. Issued by Blume in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score, this is hands down one of the most important contemporary records we’re likely to encounter in 2024.

Golden Haze Vinyl. After being long out of press (with the exception of a small, instantly sold- out pressing in 2018 to celebrate Captured Tracks' 10-year anniversary), Golden Haze is finally back on limited edition Gold vinyl!The charming and gorgeous Golden Haze EP is the culmination of Wild Nothing's (Jack Tatum) sound in 2010. Fresh off the heels of breakout debut album Gemini, Golden Haze has become a true fan-favorite of Tatum's cata- log, and an enduring fixture of Wild Nothing's live shows across the world. The tracklist features the previously unavailable Evertide EP, a Gemini B- Side, and now, for the first time on vinyl, includes bonus tracks "Asleep" and "Vultures Like Lovers."When Golden Haze was released in 2010, the EP filled with melancholy vocals over addictive guitar riffs offered a perfect continuation to Gemini. It also re-revealed that Tatum has a knack for creating unique, modern ar- rangements based on decades-old influence. On Golden Haze's single of the same name, tweaked drums and a "textural mesh of severely-gated snare and sleigh bells" evoke 80s bands like The Cure. "Vultures Like Lovers," a newly available track on vinyl, presents delayed guitars with tremolo'd vocals. The most different to Gemini, it revealed that Tatum could make more "electronically pulsed" songs with echoey, hollow vocals. Over 10 years later, Golden Haze continues to prove Tatum's ability to create new songs while evoking a musical nostalgia for the past.

CMDRPX and RPX16035 present the first various artists in collaboration and unite the two souls that were already traveling on the same vibrations, opening the v.a is an iconic figure from the underground world, @francescofarfaofficial who with his "Soul Engineering" drags you into his world hypnotic, a fusion track that combines his unique style that looks to the future with bleep and acid sounds with a non-invasive groove that encompasses everything and makes the track one of a kind.

Also on side A we find @niki_ilb with his "Acid lover" track which focuses on an IDM sound and which opens the doors to a conceptual acid and Deep style.

@gianluca.pellerano opens the B side with "Stanza di musica", a record projected onto the dancefloor with hypnotic voices, sounds and textures that will drag you towards new musical horizons.
The B2 side was entrusted to @giuseppe__angeloro with his track "Mentalism dance" with a raw sound reminiscent of the 90s, an acid texture and present percussions that make the track evolve in a more introspective direction.

Lastly we find the duo @gianluca.pellerano & @caciotechnology with their "Mango bet" the two combine their styles perfectly the track has an Electro base with a texture projected into the future experimentation in this track is the key word.

Happy listening everyone.

The 15th black label release on Limited White Label marks a
powerful union between Yerevan-based producer Scruscru
(Anton Bogomolov) and the mesmerizing vocalist Henna
Onna. Joined by the talents of Dwaal and Jehan, this
collaborative effort promises a genre-bending exploration
that seamlessly blends house, disco, jazz, and hip-hop
in§uences. Get ready to experience a harmonious collision of
styles, where each track offers a unique and captivating
soundscape.

A mastermind in showcasing various shades of house music in their inimitable manner, Danish-born, Amsterdam-based DJ/producer Samuel Andre Madsen, aka S.A.M., stands as a rare talent within the current house landscape. Whether crafting trippy, cosmic and psychedelic late-night excursions, delicate, hazy journeys, or groove-driven, heady cuts, their studio naus and innate musical talent has seen them release via a list of leading labels while heading up their own Delaphine, Dahlia and Oscillat imprints - not to mention their longstanding role as one-third of globally renowned trio Mandar. Returning to Up The Stuss following their stand-out collaborative ‘Get Together’ project with label boss Chris Stussy three years ago, 2024 welcomes a blissful late summer outing with the excellently crafted ‘Check It Out’ EP. From the deep, captivating and hypnotic sonics of the title track to the skippy Tiger Balm’, the bumping grooves of ‘Race To Lose’ and the classy tones of ‘Forever Rhodes’, prepare to be transported across the house realm with yet another faultless EP from one of the best around.

The widely beloved Romanian producer and DJ Barac delivers his new EP ‘Hypnotic Grayscale’ via Yecad this May, comprising three original compositions across the vinyl only release.

Since his debut release over a decade ago, Bucharest, Romania’s Barac has grown to become one of the most prized producers and DJ’s in the microhouse movement coming out of his home turf. A name synonymous with high quality, subtly nuanced and hypnotic grooves tightly woven together to create a sound that’s distinctly his and has found a home on many reputed labels such as Meander, Pressure Traxx, Adam’s Bite and of course his own Shamandrum. Here though, we see Barac joining the roster of Yecad, a fledgling London based imprint that has played host to music from Sepp, Vlad Arapusu, Mihai Pol, Dragutesku and Constratti since its inception in 2023.

The title-track ‘Hypnotic Grayscale’ opens the EP and encapsulates all that is loved about Barac’s productions, delicately unfurling atmospherics, haunting voices and softly reverberated chimes intertwined with airy dub chords and stripped back drums.
Following to open the B-Side is ‘Everything that is seen comes from the unseen’, stripping things back to a rawer, percussive driven state with crisp drums and a bubbling acid- tinged bass line carry the groove while sporadic resonant flutters and vocal murmurs ebb and flow within. ‘He restores my soul’ then rounds out the EP and sees Barac explore his more experimental side, fusing together ghostly synth melodies, echoing chords, spiraling resonant swells and a hypnotic Romanian spoken word vocal.

Even as a relatively new face on the scene, Boaksi, isn’t a stranger to longer format releases. The budding Zurich based producer made a splash with his first two releases “Under The Pavilion'' and "I Thought It Was Yesterday” which featured remixes from Soela, Louf and Al Zanders. Now he debuts on Seb Wildblood's all my thoughts label with a 4 track emotionally visceral EP titled Keep Movin’.

The title track, "Keep Movin'," takes a dynamic approach, layering creamy pads and impactful percussion with subtle dub techno influences that create a refreshingly deep groove, propelling a carefully positioned vocal sample into the forefront.

“Didn't I", leads with a beautiful, progressive melody that evokes a sense of yearning, and the ever-relatable Romanticism of the club. Delicately triggered chords dance off the wonderfully unpredictable drum patterns, while Boaksi's minimalist vocals add a touch of human emotion.

"Running Out Of Time" takes a more introspective turn, featuring distant, detuned textures that set the stage for a bed of soft, distorted pads. Stripped-back percussion allows the climbing arpeggios to take centre stage, building to a cleansing break that allows the atmosphereto expand before settling back into a warm, percussive groove.

The EP closes with "Wanna Be With You," another emotionally intelligent piece that showcases Boaksi's
prowess for crafting captivating soundscapes. Elemental drums and breathtaking, climatic chords provide the foundation for a beautifully free-forming synth arpeggio that flutters playfully around an unforgettable vocal hook.

Benny Howell (aka DJ Subaru) is a UK based producer, DJ and overall promoter of good times who's undoubtedly propelling a new generation of music appreciation with an honourable respect for the earlier beginnings of club culture. Benny Howell might also be the pioneer of a new post-Brexit Eurodance genre, with "Surrender", a catchy Pop oriented production with strong influences from Italodisco and HiNRG, written and produced entirely from scratch with best friend Bella Quirin who co-wrote the lyrics after a break up with her ex. Innocent and charming lyrics over 120's BPM drum machine and a simple melody that you'll be humming in the back of your mind for days to come. Equipped with a Yamaha TX81Z, a few guitar pedals and a makeshift bedroom studio, "Surrender" is the product of a dear friendship between the two music lovers, as per Benny's recount: "Bella came and sung on the track in my bedroom during one of the gaps between Covid lockdowns after I asked her at the pub if she knew any singers and said me of course, and we went from just friends to best friends."
The remix on the B-side by Castro takes a darker turn into what almost sounds like a Techno version with heavy dubbed out effects taking the "Surrender" theme through an unhinged Ketamine flanger vortex. Full cover artwork and mastered at Manmade mastering in Berlin.

Temporize focuses on putting out diverse and leftfield electronic music with no real boundaries. The label is based in Palermo, Italy and is run by Scottish native Maiú DJ. Mastering: Martin Maischein Artwork painting: Janne Räisänen Photography: Jussi Jääskeläinen Design: Juha Puuperä Gruth: Black arts, misanthropy & abhorrence KuJo: Original violin, cello and kantele recordings Igor Souza: Throat singing on track 6

Nonna Fab is a core part of Sheffield’s progressive music scene, founding Apricot Ballroom, Footprints Jazz Club, Jazz On The Park Festival, and his band Fuji Speedway. He’s also part of the consortium behind Grub Records, a new record shop and wine bar opening this summer. As well as regularly playing as part of his duo with Apricot Ballroom, Nonna Fab’s back catalogue of releases explores house, boogie, jazz and broken beat. This release shows an organic curation of instruments, touching on live elements, jazz improvisation and dance-floor orientated rhythms. We Still Out Here began a few years ago as a nod to the iconic New York City sound of Dinosaur L and Francois K, and to serve as a message that there are still producers out here working on and inspired by that sound. This release also features remixes by Admin and Comb. Bristol-based collector and beatsmith Admin is known for his sampling finesse, self-releasing some killer 7s, edits on his Community Disc-O's label, and music on others including Boogie Café Records, Take Away, Better Listen, and Future Boogie. The second remix comes from Norwich-based artist and I Travel to You label manager Comb, one half of the duo Dangerous Goods and the producer behind the popular Comb Edits series.

There is propably no single event that has as potent of an
effect on the german Techno- scene as the fall of the Berlin
Wall. A city divided suddenly, in one single night, became
uni¦ed, opening up both sides for the new experiences and
ways to view life the other might have. Berlin’s eastside with
it’s empty, unused warehouses proved to be a fertile breeding
ground for free spirits and those carrying a newfound ¦re in
their eyes. This was the zero hour. The Consolidation. And it
is this mindset, spirit and ¦re of Consolidation that Shaleen
conjures on her debut EP of the same name. The title track
opens up by sampling John F. Kennedy’s legendary “Berlin”
speech from 1964, before absolutely caving in the concrete
with a beyond-heavy kickdrum and a very stripped down but
effective 909-percussion section. Spursed in along the track’s
runtime are droning sirens and JFK continuing to beckon you
to lose yourself in the metropolitan bowels. This is the
anthem of a past revolution. On Deconstruction, Shaleen
goes down a slightly more basement oriented route. The
Percussion shares the title track’s stripped down
effectiveness, but the Groove is more rolling, the Vocal
samples are more distorted and there are sharp synths
cutting through the beats like shards of broken glass. Of
course, a revolution wouldn’t be complete without a mob so
both Cadency aka Hector Oaks and New Frames have put
their spin on the EP’s title track. Mr. Cadeny is up ¦rst and,
being no stranger to revolutionary anthems, has given
Consolidation an almost contemplative mood in his Remix,by adding a very subtle melody. This doesn’t mean it hits any
less hard, mind you, there is an incredibly strong drive to the
track, paired with an almost constantly looping vocal and the
sirens going into overdrive, this would be the track to drive
crowds into a frenzy. Meanwhile New Frames’ track is the
kind of thing you wouldn’t want to encounter alone in a dark
alleyway. The sub-basses are heavy enough to terraform
Mars, the Jungle-esque Synthlines roar and snarl at the
listener and every drop feels like a right hook to the chin. The
original’s vocal is cut in a way that it only adds to the
stomping rhythm, putting you in a mood to throw bricks. So
while this record showcases an aggressive sound and a
mood for revolution, it is important to remember it’s title.
Consolidation. It echoes a message of uni¦cation. Of
standing together. Because together we are, have been and
will always be stronger than by ourselves.

2024 Repress

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

ETC Records proudly presents the official follow-up to RADIUS’ highly acclaimed limited 7”, Infinite Roots Vol.1. Chicago-born worldwide documentarian & respected producer/performer, RADIUS unveils Infinite Roots Vol.2, produced and recorded from 2015 to 2023. This volume showcases his diverse range of styles: Chicago Jazz roots, bboy/hip hop & house music lineage, Detroit techno connections, dub/Rastafari dissporic expansions, and cinematic soundscapes.

Infinite Roots Vol.2 features heavy hitters from RADIUS’ previous digital only releases, live performances, dance competitions, and unreleased gems. Created within Brooklyn where he was based early pandemic time, as well as throughout Mexico, Detroit, Barcelona, Berlin, Rotterdam, and of course Chicago. These diasporic roots run deep and are a reflection of everything: as above so below, as within so without, infinite. The sounds are meant to be Banged loud and proud!

Jasper Street Co. is one of the House Music community’s signature artist endeavors. Produced by Baltimore’s legendary production team The Basement Boys, and consisting of a collection of singers who can emote on the highest level of gospel, soulful and peak hour house, this collective has been riding high for years and is now going next level with the recent release of the “Rejoicing” album on Nervous Records. Prior releases from the album have skyrocketed to the top of DJ sales and club charts, with “Praying For You” being nominated for a Grammy for the Louie Vega remix in the Best Remixed Recording (non-classical) category.

Up next is a cover version of a song originally recorded by Teddy Pendergrass. Written and produced by Gamble & Huff, “You’re My Latest, My Greatest Inspiration” was originally released on Philly International Records in 1981. It was a massive R&B & Disco hit back then, and now has been updated by Jasper Street Co. for the house music community. The single package has an outstanding collection of remixers on board who make the project something even more special for the purists but also will launch into the larger worldwide music community. Teddy Douglas produced the original album version, but comes back for another take while adding some serious bass / kick drum juice with his Teddy Douglas Bass Intro Remix. Micfreak and DJ Spen put a highly creative spin on the original with some added effects on the vocal and a piano line that soars into the highest level of peak hour house energy with their Higher Love Remixes. Tensnake also gives it a very distinctive and infectious groove, while Dr. Packer takes all the original elements and uses his great talents and appreciation for soulful house and disco to make this project even more essential for house purists than it already is!

Double Vinyl package on Feb. 5 on Nervous Records. Includes custom jacket and yellow vinyl.

Repress !

Heavy House Society starts 2022 with a high quality EP from Cologne based German artist DJOKO, and this also comes with a remix from the head honcho himself Sidney Charles.

DJOKO’s sound takes influences from funk & soul, garage, deep house and everything else in between that is both underground and raw. He’s released on an impressive selection of underground labels like PIV, Berg Audio, Talman and Rutilence, garnering numerous genre number 1’s on the download stores whilst also accruing over 11 million streams on Spotify alone.

For his debut release on Heavy House Society, we bring you his Rapture EP. The title track to the EP, Rapture is a classy deep and minimal house affair, with his house beats combining with a driving bassline, the cleverly constructed filters organs and pads giving this a sublime journey feel.

The second track is Inside of Me, which has more a skip to the beats, weighty bassline, and well worked samples. Add the lead melody line and this is a great track to get people moving.

The third track is My Crib, a bassline led track with an old school flavour to it which combines atmospheric pads which provide depth, delicate and intricate melodies and leads.

The last track is the Sidney Charles remix of My Crib, for his remix he takes this a little deeper which offers a great alternative to the excellent original mix. A more sub bass groove free’s up frequencies in the mix giving more space for the melodies to breathe in the track and take this on a stunning floating groove.

This is a superb release featuring 2 amazing artists, and for sure this with deliver the goods for Heavy House Society yet again

Los Angeles-based video artist and producer Laskfar Vortok makes his first appearance in the EVAR catalogue with "Erbsat Esrhosc." An unusual title that reflects the artist's interest in the bizarre, whether he's making music or producing videos and visuals, "Erbsat Esrhosc" bristles with erratic patterns, anarchic atmospheres and glitchy soundscapes. The Mexican-born talent explores ideas based on the hypothetical concept of a planetwide city, otherwise known as an ecumenopolis, weaving such ideas against a cinematic backdrop, nodding to his long-running love for cinema. Across the five-track EP, he also draws inspiration from the heated and hectic energy of L.A, where he's resided most of his life.

Produced in memoriam of Michael Gregory Harrison, aka Bad Timing, and following a period of introspection and creative and personal challenges, Laskfar Vortok began work on "Erbsat Esrhosc" in 2018. The EP honours Michael's brilliance as an artist and a friend;the title being an anagram of a phrase that they shared between them.

"Eclipse" opens the EP on a haunting note. A spidery melody and chilling pads punctuate the witchy soundscape before syncopated sequences collide with snafued textures, signifying a sharp left turn into breakcore. With its nebulous atmosphere, this track offers the first glimpse into the concept of an ecumenopolis. On "Hyperdrive", frenetic percussion dominates while zappy noises and a doomsday melody slink in and out of earshot. Bursts of broken wub exacerbate the uneasy mood while cinematic, almost ethereal chords twinkle in the background.

"Base" offers a moment to recover one's brain cells after the nosedive into the near future. A lugging kickdrum and broken, woody percussions swirl around the troposphere while creepy pads convey a sinister aura. "Mutation" catapults us back into chaos with claustrophobic polyrhythmic structures, smatterings of kickdrums, and a sporadic mad-scientist-type synthline, adding a jittery layer. An unexpectedly orchestral outro completes the bizarre nature of the track.

Closing out on "Send Off", Laskfar Vortok blends freezing-cold chords with snaggy synth notes and a tangle of drum constellations tied up with a gossamer melody and splattered across an eerie terrain.

Using Bitwig Studio, orcλ, TidalCycles and Renoise as his modus operandi, Laskfar Vortok produces a trip that intrigues but disturbs, serving a shimmering yet terrifying squint into a technoid-led utopia. And we're only just getting started.

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.

Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.

Anonymous British funk studio outfit Ultrafunk was spearheaded by Blues & Soul magazine proprietor John Abbey, who ran a fashionable record shop and label called Contempo in London’s West End during the 1970s; he conceived of the group as the UK counterpart to US studio bands like Mfsb. Arranger Gerry Shury, who had worked with Barry White and Maurice Gibb of the Bee Gees, drafted guitarist Chris Rae and bassist Frank McDonald (who often composed library music together) and future Rubettes drummer John Richardson to form the group, in situ. A lack of band photos, suggestive song titles and a predilection for American cover tunes led many to believe the band was US-based. Their self-titled debut LP is where the myth all begins, with a number of truly atmospheric and cinematic hard funk instrumentals, given added textural depth through full orchestration, including covers of Bill Withers’ “Use Me” and Stevie Wonder’s “Living In The City.” Though not quite as compelling as the better-known follow-up set, Meat Heat, there is still plenty to savour on Ultrafunk, making this debut companion disc a must-have for all true funk aficionados.

DJ Support: Enzo Siragusa, Archie Hamilton, Fabe, Fleur Shore, Us Two & VITO (UK).

UK based rising star DXNBY debuts on TRMNL Records as they reveal their next eagerly awaited EP on the Birmingham based imprint, and one of Holland’s newest hottest exports Marsolo completes the package on remix duties.

One of the main artists at the forefront of Bandcamp’s thriving underground market alongside releases on East End Dub’s Belief, Max Dean’s neXup and Ben Rau’s META to name a few, DXNBY brings his in demand signature garage and underground house crossover sound to the label with two killer cuts. The label has already offered up a plethora of sounds across the underground electronic spectrum with releases from credible names including East End Dubs, Yaya, Djebali, Ray Mono and Samu.l

Title track ‘Ozone’ oozes everything that TRMNL as a brand and the second city champions - warping basslines laid down in a fast-moving fashion for those peak time moments. ‘No Return’ continues the mind-bending journey with cleverly manipulated vocals, skippy drums and hypnotic samples before dropping into another uniquely assembled heavy hitting bassline.

Dutchman Marsolo follows up from impressive EP’s on Prunk’s PIV and East End Dub’s Eastenderz by stepping up with his take on ‘Ozone’ - as the remix takes you into after hours territory with skippy drums and a cutting bassline that creates moments encapsulating the true essence of the underground

The four horsemen are the rhythm section of The 18th Parallel riding down the plains to the sound of an heavyweight stepper inspired by the late 70s playing of the Revolutionaries at Channel One. Slow, refined and powerful, the interaction of the drums, bass and organ leaves room to an otherworldly horns chant calling everyone to dance and sing along. Probably one of Fruits Records heaviest release ever!

The first 7“ of this series features Spanish based UK singer Benjammin known for his superb work with Roberto Sánchez. He chants down all ‘Warmongers’. His singing style reminiscent of BurningSpear’s greatest days sends shivers down your spine! Dub by Roberto Sánchez on the flip.