quête:behind the name

One of the most interesting publishing events of the 1980s were special British editions of Italian, French or German productions containing PWL remixes. Behind PWL name were producers associated with the hit trio Stock/Aitken/Waterman, which promoted a number of great artists, including Dead Of Alive, Banarama and Kylie Minogue to name a few. PWL’s remixes for London Boys and Blue System became evergreens.

And since the group of artists associated with DISCO NOSTALGIC included those who sounded like Blue System, the label decided to refer to the events of 1989 and prepared an EP with remixes inspired by the mixture of German and British euro disco.

Pluto’s Plan is back with a full blast. Another four-track VA welcomes back label founders and introduces new names to the roster. The A side kicks off with Tourman, delivering a cosmic acid heat, followed by the label’s own Hatsvali with a heavy dancefloor groover. The B side is shared between Pluto's Plan co-founder Hudson with a hypnotic tech house and gents behind Fraise Records, Duowe, with a virtuously crafted tune.

Free Hand was Gentle Giant's seventh album, originally released in July 1975. This album was the most commercially successful of the band's career, reaching the top 40 albums in Billboard Magazine. It stands as the culmination of the band's maturity, following the successes of 'In A Glass House' & 'The Power & The Glory'.

Having toured Europe & North America non-stop in the years prior to this release with artists like Jethro Tull, Yes, Zappa etc, the band had gone from strength to strength. By the time 'Free Hand' was released Gentle Giant had become a major headliner in their own right. All the members were multi-instrumentalists and the band were never afraid of surprising an audience with a 4 part recorder ensemble followed by a vibraphone solo, all the while rocking the audience and thoroughly enjoying themselves onstage.

Gentle Giant albums featured many songs with both literary subjects as well as social and personal commentary on life as rock musicians. 'Free Hand' has more than most. The title of the album and first track were so named as the band had just changed record labels and management and felt unshackled by prior contractual obligations.
Putting these issues behind them upon its first release, Gentle Giant embarked on an extensive tour of North America and Europe, plus a short tour of the UK, to promote the album. The incredible range of Gentle Giant's music is evident throughout this album. From the intricate vocal fretwork of 'On Reflection' and the delicate medieval
flavour of 'Talybont,' the Celtic-tinged rock of 'Time To Kill' and the jagged rhythms of 'Just The Same,' all those diverse elements which made the band so strikingly original are skillfully blended and perfectly executed.
Award winning producer and musician Steven Wilson has added his delicate touch in remixing 'Free Hand' . His tonal range and painstaking attention to sound quality make 'Free Hand' sound as fresh today as it did on first release. A fitting tribute to the compositional skills and expertise of five dedicated musicians.
This special gatefold 2LP edition is pressed on White Vinyl and limited to 500 pieces worlwide

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

Hilit Kolet debuts on Rekids with ‘Hot Mess’, including remixes from the legendary Mike Dunn.

Following her remix of Terry Farley & Wade Teo’s ‘Why We Dance’, Hilit steps up to the Rekids plate with her debut EP for Radio Slave’s label with her single ‘Hot Mess’. A relentlessly driving drum machine werqout, ‘Hot Mess’ sees her masterfully mixing compulsive, marching rhythms with a fiercely impassioned spoken word vocal.

With added raw jackin’ energy in the ‘Even Hotter Mix’, this has the kind of late night runway energy that demands the
Sound Factory be rebuilt. On the B-side, Chicago house legend Mike Dunn’s remix of ‘Hot Mess’ is a deep groove that adds a wriggling earworm bassline, while still embracing the enchanting vocal of the original.

Hilit Kolet has been an integral part of London’s house scene ever since she started slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style then established her behind the decks everywhere, from high fashion shows to some of the most celebrated underground clubs in London. 2023 saw Hilit going global with shows from Ibiza to Shanghai via Printworks, Warehouse Project and Ministry of Sound.

Her summer single on the Faith imprint ‘POV Siren’ has been embraced by DJs as diverse as Robert Hood and Paul Woolford, and her edit of Laurent Garnier’s ‘Crispy Bacon’ was rinsed by many from Carl Cox to Patrick Topping, before seeing an official release by Garnier himself. ‘Hot Mess’ sets Hilit Kolet up as a serious name to watch out for in 2024.

Varhat unveils fresh music for his Up The Stuss debut ‘Breaking Out’, with Canadian favourite Paolo Rocco returning on remix duties.

When it comes to artists who have managed to carve out and command their own unique place within the modern minimal and house scene, French DJ/producer and live artist Varhat is a name you have to include at the top end of your list. The creative behind an endless list of aliases, plus multiple Unknown Artist projects and mysterious labels via Paris’ illustrious Yoyaku, he now readies an impressive outing on Chris Stussy’s Up The Stuss imprint, delivering an eclectic selection of house cuts for all hours and settings.

From the delicate electronics and hazy tones of the opener and title cut ‘Breaking Out’ to the acid-laced, driving rhythms of ‘Nobody’ and the slinking, signature sounds found within ‘Mopho’, the EP is a celebration of all things house music from one of its modern contemporaries. Add in a deep, dubby and cosmic trip from the returning Paolo Rocco on remix duties, and there’s a slice of genius here for everyone to enjoy. Tip!

Jackie Mittoo is one of the most important artists in the history of Jamaican music. As founding member of the legendary Skatalites, as in-house arranger/producer at Studio One and as a solo artist in his own right leading groups such as The Soul Brothers, Sound Dimension and Soul Vendors.

These classic and rare recordings were made in the mid 1960's at Studio One. The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady.

The previous era of Ska had been dominated by the Skatalites, the first in-house band at Studio One who created classic hits such as "Guns of Navaronne", "Man in the Street", "El Pussy Cat" and many more. Unfortunately the strong personalities in the group meant that The Skatalites stayed together for less than two years. It was also around this time that the mentally unwell Don Drummond was arrested for the murder of his girlfriend, the dancer Margerita.

In August 1965, barely a week after the demise of the original Skatalites, The Soul Brothers (featuring ex-Skatalites members Jackie Mittoo, Roland Alphonso, Johnny Moore and Lloyd Brevitt) were up and running as the new house band at Studio One.

The Soul Brothers were essentially a collective, releasing material under their own name or under a nominal leader (usually Jackie Mittoo or Rolando Alphonso). The group line-up changed over time with Bobby Ellis (trumpet), Bryan Atkinson (bass), Dennis Campbell (Sax), Harry Haughton (guitarist) and Joe Isaacs (drummer) replacing various members alongside the ever present Jackie Mittoo.

REVIEWS

"Jackie Mittoo was a true star of Jamaican music; a founder member of The Skatalites, a prolific composer and the keyboard powerhouse behind many a classic tune. His simple, often hypnotic approach, to ska, rocksteady and reggae made him one of the most distinctive sounding musicians of the era." BBC.

"Jackie Mittoo was one of the great names in Jamaican music, manning the keyboards for the Skatalites, the Soul Vendors, and Sound Dimension-- three of the greatest house bands of the 60's
(and I mean anywhere, not just in Jamaica)." PITCHFORK.

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

Layton Giordani continues his inspiring studio form with ‘Phantom’.

The new two-tracker comes off the back of his collaboration with HI-LO ‘Rabbit Hole’ that nears 3M streams, and his most recent Drumcode EP ‘Life Moves Fast’, which was an early 2023 highlight.

The title track is a vibrant dancefloor trip, sometimes feeling more like a widescreen film soundtrack, such is Giordani’s skill for crafting a thrilling dramaturgy, while always having a strong ear for strong, driving rhythms.

Stepping away from techno, ‘Thrillseeker’ shows a side to the young New Yorker we’ve never seen before. He draws from hip hop, trap and pop, reinforcing his breadth as a producer and talent for sound design.

“I wanted to evoke the vibe of an exciting city at night and channel that unique energy into Phantom. Thrillseeker is pretty much the idea behind the name. I wanted to experiment and make something out side of my ordinary sound. Expand my horizon and welcome some new sound and energy in the studio.”

The EP FACE II is a continuation of the Faces EP series, of which the first EP was released in october 2022. The basis here is also a literary fixpoint with KAFKAS VER- WANDLUNG.

the examination of the urban modern man has its origin in the album JAHRE and is now explored in more detail here. What happens to us in a time of digital transparency as a glass human of the city and night.

It starts with THE VOID, which was originally intended as a poem about being lost. We go out into the night, some to search, some to forget and some to never come back as the same again. On our journey we often take substances that we expect to make this journey easier and faster. the escape from ourselves and from our relationships to the environment and humans can‘t just be skipped. a fast way is always a dangerous way and often leads to an even bigger EMPTINESS.

In THE GHOST something appears to us late at night, it is like a shadow of the previous hours, something that has followed us on the streets and accompanied us un- discovered until we reached our home. We wake up and at first it is unclear whether we are dreaming.

In half-sleep the dimensions blur together and the whole polyva- lence of the different existences gapes open. We blink into the DARKNESS and try to recognize something, the light remains far away and yet we hear this piercing sound, which in the end leaves us only with ourselves. we are the spirit of the night, trapped on an old tape in the chest of nothing.

The next section THE MOON shows us the light in the darkness. The shadows and ghosts give way for a moment and the light flows through our veins and molecules. The poem describes our unspoken longing to follow the light, in the light our fears disappear and everything blurs into an unknown familiarity. We stagger back and forget the encounters with our inner DAWN.

In the light the ghosts disappear like childhood memories left behind.
The last chapter is written by THE DAWN, a stanza from the poem of the same name as a spoken reconciliation with the world. In spite of everything, we seek harmony and connectedness. No one wants to become an exile, even if we can‘t always bring it about ourselves. We love LIFE and we hear and feel everything around us, if we let ourselves ...

ALL LOVE
AMAS_DHE / AMAS_PHI

You know Krash Slaughta right? The man behind the recent wildly successful DOOM/Sugacubes mash-up LP Sugar-Coated DOOM, not to mention his unofficial remixes of the Wu’s K.R.E.A.M. and P.L.O. Style and collab. 45 with Phill Most Chill, Rebel Base? ‘Is he at it again?’ the monkey hears you ask. Yes, he is at it again, though the closest of the the three aforementioned releases to what he’s about to drop is the Wu remix 45. And what he’s about to drop is Diggin Deeper, not a single this time but a whole remix album of one of his (and the monkey’s!) all-time favourite hip-hop LPs – to wit, Niggamortis – more usually known as Six Feet Deep (especially in the U.S., though minus the best track under that name) by hip-hop supergroup Gravediggaz.

As many will know, this LP with its horror-movie fixated lyrics gave birth to a whole hip-hop sub-genre – that of ‘horrorcore.’ However, none of those who came after seemed to manage the lyrical humour of The RZArector, The Grym Reaper and The Gatekeeper (a.k.a. RZA, Poetic and Frukwan) and the only bit of production by The Undertaker (a.k.a. Prince Paul) that they seemed interested in was the sub-metal rap sludge of the shouty Bang Your Head – i.e. the LP’s one weak spot. But don’t worry, Krash isn’t interested in that sort of thing. Not only does he avoid rap-metal beats for Bang Your Head, he doesn’t use any on the LP at all – hurrah! What he does do is employ, arguably, as eclectic an array of sample sources as Prince Paul on the original – though with an entirely different end result. Bang Your Head with its apparently sixties garage band-derived beat for example is one of the standouts. The skeletal piano skank of 6 Feet Deep is another, while a beat featuring spaced-out eighties synths forms the new musical backdrop to Constant Elevation. Two more of the monkey’s favourites on this one are Here Comes The Gravediggaz, now underpinned by double-bass-led funk and the glorious inappropriately joyous bounce of Blood Brothers. The result? Your favourite cuts on this one might not be the same as your favourite cuts on the original. Two different versions of a much-loved LP, then; it’s why people remix hip-hop. All the vocal stems were created by Krash and the ultimate intention is to do a limited vinyl release. Cover art is by the Dead Residents’ Junior Disprol.

Recent times have seen After Caposile become one of the most sought after locations on the underground circuit, and this reflects in their acclaimed record label - Caposile Music. This Spring they have prepared a stellar release of firm favourites from the club. “The Sound Of Garden” release will come in two parts, both on 12” and will include a heavy hitting lineup such as Romanian duo Super Moon (Arapu & Priku), family members and residents Maggio, Francesco Maddalena, and Yaar Kü, Silat Beksi, Mihai Pol, Giuliano Lomonte and Sublee. A perfect blend of club affiliates, coming together to provide the soundtrack from that famous garden.

Volume One kicks off with the dynamite combination of Arapu & Priku under their Super Moon moniker. Hypnotic movements set a serious tone for the journey ahead, mysterious elements simmering throughout “I Can Help”. Dreamy meets dance floor in Maggio’s aptly named “Just Landed” floating synths calmly lift you, but you remain grounded by the killer elasticated groove. After delivering the previous EP on the label Yaar Kü returns with a stripped back encounter, his unique touch shining bright. Silat Beksi provides a certain sunshine jam with his track “Jaho”, you immediately feel the warmer times are coming, after parties in the sun.

Landing just a few weeks after is the equally special Volume Two, packed full of ammo for the tastemakers. Mihai Pol inaugurates proceedings with “Sugar Rush”, the 7 minute quest boasts shimmering synths and a sweet bass line to match. Francesco Maddalena ups the ante with his garage influenced “Breath Of Air”, an energy boost for the peak times of the party. Giuliano Lomonte’s “More Time” rumbles from the get go, begging to be played on a high quality system to allow each of the intricate details to speak for themselves. Last but not least is Sublee, his “Day Six” track is a chugging body of work, blurring the lines between house and minimal with a raw edge.

With a huge European tour on the table, and a release of this stature After Caposile are flying high at the moment with an indispensable team behind the project. Expanding on their party paradise location, but simultaneously propelling innovative underground sounds under the Caposile Music offshoot. Both Volume One and Two will land this May, right on cue for the summer time madness.

Recent times have seen After Caposile become one of the most sought after locations on the underground circuit, and this reflects in their acclaimed record label - Caposile Music. This Spring they have prepared a stellar release of firm favourites from the club. “The Sound
of Garden” release will come in two parts, both on 12” and will include a heavy hitting lineup such as Romanian duo Super Moon (Arapu & Priku), family members and residents Maggio, Francesco Maddalena, and Yaar Kü, Silat Beksi, Mihai Pol, Giuliano Lomonte and Sublee. A perfect blend of club affiliates, coming together to provide the soundtrack from that famous garden.

Volume One kicks off with the dynamite combination of Arapu & Priku under their Super Moon moniker. Hypnotic movements set a serious tone for the journey ahead, mysterious elements simmering throughout “I Can Help”. Dreamy meets dance floor in Maggio’s aptly named “Just Landed” floating synths calmly lift you, but you remain grounded by the killer elasticated groove. After delivering the previous EP on the label Yaar Kü returns with a stripped back encounter, his unique touch shining bright. Silat Beksi provides a certain sunshine jam with his track “Jaho”, you immediately feel the warmer times are coming, after parties in the sun.

Landing just a few weeks after is the equally special Volume Two, packed full of ammo for the tastemakers. Mihai Pol inaugurates proceedings with “Sugar Rush”, the 7 minute quest boasts shimmering synths and a sweet bass line to match. Francesco Maddalena ups the ante with his garage influenced “Breath Of Air”, an energy boost for the peak times of the party. Giuliano Lomonte’s “More Time” rumbles from the get go, begging to be played on a high quality system to allow each of the intricate details to speak for themselves. Last but not least is Sublee, his “Day Six” track is a chugging body of work, blurring the lines between house and minimal with a raw edge.

With a huge European tour on the table, and a release of this stature After Caposile are flying high at the moment with an indispensable team behind the project. Expanding on their party paradise location, but simultaneously propelling innovative underground sounds under the Caposile Music offshoot. Both Volume One and Two will land this May, right on cue for the summer time madness.

In the words of Bill Brewster - DJ History

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

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

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

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

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

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

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

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

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

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

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

After six illustrious vinyl releases behind them, Forbidden Dance takes this one deeply close to home. As a rising house name from Croatia, Laseech signs this harmonic and creamy house release iced with stellar vocals by Desney Bailey and backed up by two of the house heavyweights – Dego and Patrice Scott.


A1 The title track “Hey Love” is packed with effortless deepness in and out topped with smooth Bailey’s vocals dancing elegantly over chords and strings. Dazzling tuneage that resembles airy summer jam at your favourite beach spot.
A2 Dego is a man with a thousand sounds. And all of them are rich and impressive. His disco-funk spin on “Hey Love” is ploughed with heavy synths and sharp drums that culminate with a lush keyboard frenzy in the end.


B1 Patrice Scott’s ability to infuse introspective soul into machine sound is second to none. “Hey Love” goes through melodic morphosis which Patrice delivers so smoothly and tinges it with floor-oriented moves.
B2 Bailey’s vocals are the soul carrier of this release and it shows pretty much on “You See”. Hazy and melancholic, the track slowly burns under her looped vocals. Stripped, heart-aching and beautifully dimmed.

Italian DJ and producer Francis De Simone debuts on Lee Foss and Jamie Jones' label Hot Creations with London Bass. Having built a solid back catalogue in recent years, his first Hot Creations release embodies the dynamic sound of the Palermo-born artist, channelling chunky tech house and disco-flavoured melodies.

De Simone explains his creative thinking behind the EP. "These tracks fully express my devotion to music. I ranged a lot, trying to remember an 80's sound up to a more raw and synthetic groove with Latin vocals to embrace the different ethnic groups." Reflecting his thoughts to a tee, the title track rumbles with a massive bassline and chopped-up vocals that add an instant burst of energy. Things get weird on Saludos A Todos, as thumping kickdrums collide with a trippy melody and even trippier vocals, creating a wavey atmosphere. The ideal club curveball. On Off White, De Simone delivers a pacey number packed with burbling beats and clicky percussion, complemented by dreamy vocals. The hint is in the name on closing track, This Is Undergound. A big room delight, De Simone drops a stripped-back banger, where the lyrics do the talking in tandem with a driving bassline. An excellent addition to the Hot Creations discography.

Based in Palermo, Italy, Francis De Simone stems from a family of musicians. Having played the drums from age two, the versatile artist can make anything from rock, pop and jazz, but these days, De Simone pens electronic music. His father worked as a bouncer for various local discos and exposed De Simone to dance music from a young age, later inspiring him to produce house and techno with an uplifting tint. Releases on Glasgow Underground, LW Recordings and REALM Records have helped shape the profile of this flourishing artist, with plenty more to come further down the line.

Angelo Sindaco is the producer’name behind the self-titled project, Sindaco, active since the mid-80s in the experimental and industrial electronic music’ circuit up to the most innovative house music now lands

on Simona Faraone’s label, New Interplanetary Melodies with his latest work, Spiritual Safari (NIM010).

For this release, Sindaco took the help of some of his longtime collaborators and friends such as DJ and producer Andrea Salomoni, here with his aka Abyssy, Brazilian Kraut-classic singer Marcela Dias and musician Nico Pasquini aka Stromboli.

Spiritual Safari was born from a particular sci-fi vision of Africa as the last border of post-post-modernism, in which, Sindaco’s artsy approach combined with Abyssy’s more exquisitely Detroit feel blend to perfection giving birth to tracks with a more ecstatic flavor such as Absenthium (1) and Gommaflex feat. Stromboli (3) or more sinuous and deep like Bem bem bem (2), graced by the sweet voice of Marcela Dias or Monolite (4) feat. Abyssy that transports us to a Techno dimension of rare elegance.

With Atlantic Road (5) the mood becomes more rarefied despite of the pushing rhythm, while in Son (6 feat. Abyssy) field recordings and synths turns more airy and shimmering bringing to mind some typical early 90s house productions. In Amazonas (7 feat. Marcela Dias) sounds comes from idm matrix while The Cave (8 feat Abyssy), the track that closes this beautiful record, you are enveloped by a soft tropical cloud thanks to its wrapping bass line and foggy synths that will conquer the most demanding users as by now a tradition for all the records curated by New Interplanetary Melodies.

Spiritual Safari was written and recorded between Bologna and Rio de Janeiro during 2022.

Lined up next on Toolroom, we’re set to welcome the return of WEISS to the label 3 years after his last outing. Most known for his certified gold, 2018 smash-hit ‘Feel My Needs’, which received critical acclaim, topping 5 international music charts at #1, and earning DJ Mag’s ‘Best Of British Winner’ in 2018. WEISS himself has locked in an incredible collaboration with legendary Soul act The Jones Girls, using their classic record ‘You Gonna Make Me Love Somebody Else’ to create the club stomping cut that is, ‘I Need Some’.

A prolific DJ and producer, WEISS has released cuts on DIRTYBIRD, Universal, Island Records, D4 D4nce, Glitterbox and Toolroom along with remixing A-list artists including Kylie Minogue, Robyn, Calvin Harris, and Rag n Bone Man to name a few. When it comes to the House Music elite, Weiss is amongst some of the best there is, touring worldwide and sharing stages with Armand Van Helden, Todd Terry, and MK.

Of course, The Jones Girls are an act that needs no introduction, the legendary Philadelphia trio of sisters are the vocalists behind the classic Soul cuts ‘Nights Over Egypt’ and ‘Who Can I Run To’, released on the renowned Philadelphia International label.
Backing singers to both Aretha Franklin and Diana Ross during the 1970’s, The Jones Girls have left their mark on Music History and still influence artists and vocalists alike today.

With a passion for all things Soul, Disco and R&B, WEISS has officially fulfilled a childhood dream working with The Jones Girls to create ‘I Need Some’. This is a Disco House focused cut that pays homage to the original record ‘You Gonna Make Me Love Somebody Else’, whilst reinterpreting the sample and making it club ready for dance floors.

One thing that is written in stone even in these days of near endless uncertainty is that when Topical Disco unleashes one of their vinyl releases they are a no questions asked, must have. For a label which regularly dominates the top spot of the download charts they still consistently manage to up the ante for their vinyl drops. It’s no wonder at all that the previous editions have gone on to become collector’s editions, disappearing from the shelves as quickly as you can say here today, gone tomorrow.

Volume 24 easily keeps this incredible run of club vinyl masterpieces going strong. Packed across two side of black gold are tracks from newcomers and scene heavy hitters alike Toscana, Toby O’Conner, Charly Angelz and Frank Virgilio.

The mysterious Toscana leads the way with the wonderfully enigmatic ‘The Girl With The Red Hair’, a six and a half minute slice of pleasure packed Balearic disco. Incessant, warm and inviting it combines a divine groove heavy bassline, funky guitar licks and a subtle percussive backbone with a rather brilliant stand-out guitar solo. This is a track which is guaranteed to fill those summer dancefloors.

Next up is Toby O’Conner who is returning to Tropical Disco after his lauded ‘The Heist / 1920 EP’ with another high energy slice of disco goodness in the shape of ‘Cave Of Gold’. Again this is classic Tropical Disco, combing both live chops with jazz overtones as throbbing club ready drums provide the framework for a bubbling bassline, subtle keys and sax solo’s aplenty to weave their magic. Expect jazz inspired shapes to be thrown on dancefloors across the globe when this one drops.

Over on the flip is Charly Angelz, another artist who has been making a considerable swirl on the disco scene of late. ‘Mother Phunk’ is very aptly named with an absolute gem of a bassline front and centre as classic funk vocal chops, vibey pads and guitar stabs all combine perfectly with earworm strings for anther sure fire floor filler.

Closing the EP out is scene stalwart Frank Virgilio. Hailing from Napoli Frank has been behind a virtual disco smorgasbord over the five years including regular chart bothering appearances on Tropical disco. ‘What We Love’ tips its hat to the golden era of house music, think 90’s Soulfuric meets MAW. Vibes abound here from the classic drum sounds right through to the divine ethereal percussion which adds that touch of class. This is another track which will sound just perfect on the golden Isle this coming summer, did some-one say Ibizan boat party? We’re onboard!

In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.

'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet

Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.

Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Here's a brand new EP for the italo lovers. Released for the first time
in 1982 on Full Time Production off-shoot Good Vibes, 4 M
International's "Space Operator" is repressed on hand-numbered limited edition vinyl on Mr Disc Organization!

This special EP includes the Techno producer Donato Dozzy cadillac
rhythms reshape and the vocal and instrumental versions of the record.

Spaced out disco electro. The mysteriously named 4M International was a side project of the production team behind the Italo group Trilogy ("Not Love", "Black Devil" etc). "Space Operator" is the only record the outfit recorded and is an ultra spacey, pitched down, cosmic anthem with a wealth of killer sound FX, synth washes and sinister vocoded voices inviting us to join them in some intergalactic space travel!

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

David Bazan was, for many years, the songwriter and driving force behind the acclaimed indie band Pedro the Lion, building a dedicated following and selling a couple hundred-thousand albums based in large part on his extraordinary melodic sense and erudite, theologically-themed songs. After a decade helming the project,he found himself embroiled in a major personal philosophical and spiritual cataclysm, wrapped in a growing drinking problem. Bazan got to work exorcizing both his demons and angels, ditching the Pedro moniker in favor of his given name and producing two incredible pieces of work in the Fewer Moving Parts EP and the 2009 full-length Curse Your Branches (Barsuk). Branches is considered by many to be a legitimate masterpiece. Charting Bazan's increasingly skeptical struggle with the precepts of the evangelical Christian world in which he was raised, the album covers some pretty serious ground. NPR called it "an album of great music and great humanity." Strange Negotiations focuses Bazan's energies toward the external, centering on his disappointment in the current state of accelerating American and global social fragmentation. Musically, most of Strange Negotiations sounds like a great rock band playing songs theyre beyond intimate with. Its the first full-length he's recorded with a band, the same band with which he toured relentlessly in support of Curse Your Branches.

Blue Vinyl

After a three year hiatus, the rap trident known as Death At The Derby is back with another full LP, this time entirely produced by Toronto based producer Finn. An 11 track project, “Capitano” is themed behind some of the games most respected & legendary captains to rock the honorary armband.

Inspired by their previous 2020 release “Ballon D’Or”, this latest LP is both the first official drop, yet second installment to their newest series entitled Club & Country. With the third & final season of their celebrates derby series around the way, this record is the next phase in their wave of worldwide work.

Cuts provided by their resident DJ, DJ Dubplates, the project is both a rare & raw blend of potent underground production, cultured sound bites, top flight lyricism & love for the beautiful game. Whether El Salvador, Romania, North Ireland or Argentina, the roster is monster. Centered around a tracklist aligned by the player’s actual jersey numbers, this collection of stars shine bright as any constellation.

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

A guitar stands alone in Wedding, that metropolitan biotope in the western center of Berlin, caught in constant transformation between idyll and abyss. It lets its gaze wander, unsettled, almost shy, until it encounters a trumpet, with which it begins a cautious, then ever more intimate pas de deux.
Welcome to the second studio album by the Berlin-based band Conic Rose.
The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because Wedding also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope - unfold in every single song on Wedding.
For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark.The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to our time. Something lurks in the background, omnipresent yet still unnameable. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete. The seed only begins to grow in the listener's ear. With every listen and the echo it leaves behind in memory, the studio bud continues to bloom. The album is merely the point of departure. What ultimately matters is what it sets in motion within those who encounter it.

“Lonesome for a Storm” is the result of a felt sense in the summer of 2024.

A fleeting feeling in the body meditated on and played through a restrained pallette of instruments and found sound . LFAS is Gustav Kemps’s first solo album under his own name, but he’s been a frequent behind the scenes coll- aborator in various other bands (if you can connect the dots, there’s a lot to find). Mystery can be fun, but this album of his feels tender and generous in what it conveys.

RIYL: Empress, Loren Connors, Penguin Cafe Orchestra, The Humble Bee, Yo La Tengo, Taku Sugimoto...

White Vinyl

The fringes of the desert have a way of changing a man, but the high-altitude chill of the Sierras will strip him down to his soul.

Following the gritty, neon-soaked introduction of his debut, Red Leather returns with his sophomore studio album, TAHOE. If his first record was a desperate sprint through the dark alleys of the soul, TAHOE is the cold morning after—a cinematic, sweeping exploration of isolation, clarity, and the jagged edges of recovery.

Named after the alpine lake that serves as both a sanctuary and a graveyard for secrets, the album navigates the duality of the landscape.

The songwriting dives deep into the "blue" period of his life—tackling themes of sobriety, the weight of sudden fame, and the ghosts of past versions of himself. It is an album about the silence that follows the storm, and the realization that the higher you climb, the thinner the air becomes.

When asked about the founding fathers of German thrash metal, band names such as Kreator, Sodom, and Destruction come to mind. Perhaps even Tankard. The name Living Death is usually not among them. There is a simple reason for this. Similar to the Swiss band Hellhammer, Living Death from Velbert were simply a tad too extreme for most fans and the press. Thorsten “Toto” Bergmann's truly shrill vocals and the poor production of the first two (legendary) albums did not make it easy for the public to adequately assess the band's musical significance. Living Death was founded in 1981 by the two Kelch brothers, Reiner on guitar and Dieter on bass. In the early days, guest drummer Eric sat behind the drums. The line-up was completed by Frank Fricke on second guitar and the aforementioned singer Thorsten “Toto” Bergmann. Living Death recorded their first demo with three tracks in 1981, which earned them a deal with the Belgian label Mausoleum Records. A year later, their debut album “Vengeance of Hell” was released, which actually suffered from its very thin (and treble-heavy) production (in 1985, the record was re-released as a remix – with slightly improved results). However, the below-average production should not obscure the fact that “Vengeance of Hell” offers a few timeless thrash metal classics with “My Victim,” “Heavy Metal Hurricane,” “Hellpike,” and the title track “Vengeance of Hell.” The raw, unpolished sound of Living Death sounds more contemporary than ever today, 30 years after its initial release. This only proves that it took the music world three decades to catch up with Living Death.

7 Inch Orange Dinked Vinyl in Label Branded Sleeve

Originally issued on Paul Winley Records in 1973, “Smokin' Cheeba-Cheeba”—with Ann Winley on vocals—became a cornerstone of the 1980s UK Rare Groove scene, earning cult-classic status among collectors and DJs alike. On the flip, “Dance Girl”—also released under the Rimshots name—serves up one of the era’s most revered up-tempo breaks. Its unmistakable groove has been sampled by The Roots, Large Professor, and many others, cementing its place in hip-hop production history. The creative nucleus behind both The Mighty Tom Cats and The Rimshots would later evolve into the legendary Fatback Band, adding another layer of pedigree to this essential pairing. With original copies fetching high prices on Discogs, this special-edition Orange vinyl Dinked 7-inch, housed in a branded Paul Winley Records sleeve for Record Store Day, offers a rare chance to own two deep-cut funk/soul essentials on one collectible release.

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

ZENA, the contemporary ethio-jazz duo from London comprised of producer, keyboardist

and synth player Yohan Kebede and bassist/producer Menelik, have announced the forthcoming release of their debut EP ‘TEMESGEN’; is a six-track aural odyssey that balances uncompromising experimentation with a deep sense of home, comfort, and exploration. In accordance with the duo’s mission, the project is seeking to redefine and reimagine Ethiopian music for a new generation.

Speaking on the inspiration behind the EP’s title, Yohan said: “‘TEMESGEN’ means “Thank God” in Amharic, and for me, I never heard my mother receive good news without saying it aloud. After the first couple gigs we did as ZENA, we saw how people reacted to our music and how it resonated with them. It spurred in us a feeling of overwhelming gratitude, after which the EP kind of named itself”

Born out of a mutual love and respect for the music of their shared Ethiopian heritage, ZENA are charting a new endeavour where Ethiopian musical traditions meet the future. Building upon the roots and foundations laid by legendary Ethiopian musicians Haliu Mergia, Alemayehu Eshete and Mulatu Astatke, ZENA fuses the haunting spirituality and earthiness of the ethio-jazz tradition with a modernity, sensuality and sense of disruption that is distinctly London.

Following three sold-out London headline shows, plus appearances at We Out Here Festival and on NTS Radio, ZENA arrive on Brownswood Recordings with a bold debut that’s equally at home across jazz-minded selectors and leftfield crate-diggers. The duo’s momentum is fuelled by Yohan Kebede’s landmark year with Kokoroko; from the release of Tuff Times Never Last to an NPR Tiny Desk, a North American tour, and their biggest headline show yet at O2 Academy Brixton, alongside Menelik’s quietly formidable reputation in London’s inner circle, shaped by time on the road and in the studio with Muva Of Earth and Bill Laurance.






d B1 IT'S YOU (ANTE NEH) ft. Meron T




d B1 IT'S YOU (ANTE NEH) ft. Meron T




[d] B1 IT'S YOU (ANTE NEH) [ft. Meron T]