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The debut full length album from Gloved Hands, entitled Empty Terminal, finds the musician straying from the dance floor in search of something amorphous and less tangible. Ambient in nature, the eight tracks that comprise the LP have a deep focus on texture, space, and human feelings rather than a need for constant propulsion and momentum.

The A-side, the more rhythmic and percussive of the two, is awash with vague echos and smudged, slow-moving chords. Subaqueous drums shift in and out of focus. Sound sources are at once distant and intimately close. The curtains part to reveal a glimpse of a crystalline melody or a fraction of a vocal phrase only for the room to fill with fragrant smoke and go dark. It is a place beyond the dance floor. Perhaps it's a place without any floor at all.

The B-side is even more fragile and diaphanous. The foreground and background are obscured, leaving a hazy mesh of delicate, interwoven forms and rhythms; glistening and brushing against one another in the warm, dimly-lit space in between. With a swirling mix of cavernous bass and sweet-but-never-saccharine melody, the details are stretched and abstracted into something new yet familiar. The compositions ripple in midair, appearing and vanishing, close but just out of reach.



b A2 The Hungry Army Arrived As the Beans Ripened Master

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix.

Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present.

Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.


DJ Feedback:

Foul Play
Moving Shadow
"All the remixes totally land, great package, respectfully done. gonna hear a lot of these over the summer I think."

Jerome Hill
Super Rhythm Trax, Don't, Kool FM
"Was a little sceptical seeing these were remixes as its such an iconic track - BUT fair play ! Borai and Ed Solo & Blades both knocked it out of the park and i'll be playing both these, plus replacing my personal (slightly. crusty) vinyl rip of the original ! Bigups !!"

Om Unit
"Untouchable until now tbh"

jd Twitch
optimo
"even though I have probably heard it ten thousand times you can't beat the original. remixes are cool though."

Louise Chen
"this hits so hard it's tough choosing a fave mix!"

Emerald
BBC 1xtra/ Rinse FM
"Yeeeeeh found the dubstep remix vinyl of this in barcelona recently"

Werdna (Circular Jaw)
"Classic, lovely to see Hooj bringing in the big guns for the remixes. These are going off!"

Cortese
"Sick breaks on this one"

Truss/ MPIA3/ Overmono
"wicked"

Oli Warwick
Crack/ RA/ International Orange/ JunoJuno Plus
"Absolutely seminal bomb drop here, and the remixes are no joke either!"

Chris Farrell
"Always good to see this come round again, original and borai mix for me"

Smolny
"CLASICK !"

Doc Martin
Sublevel USA/Fabric UK.
"Complete Rave Warehouse Flashbacks!!!!"

Lil Mofo
The Trilogy Tapes / Tokyo
"wow!"

Moody Boyz
all over the worldstudio rockers records
"classic tune feeling the Filter Dread Remix"

Ciel
Rinse FM / Refuge Worldwide
"really nice collection of tunes!"

dop
"love the original"

Vinyl only - Limited copies - No repress

First striking us with his exhilarating ‘Yakka’ EP, Bambi OFS has continued to surprise us with his musical output ever since. (…) The Belgium-based producer is carving out an almost unique take on dance music with a heavy debt of gratitude to the endless rhythms and percussion-centric styles of Gamelan, and other styles of music native to Indonesia and further afield (…) the revised ‘Kwon-9’ EP goes for the jugular and ties together the percussion-heavy originals on vinyl alongside phenomenal remixes from Don’t DJ, Georgia, Icon Template and Broken English Club.” Inverted Audio Super excited to bring this killer release on vinyl with a brand new remaster and remixes by Broken English Club, Georgia, Don’t DJ and Icon Template! Meshing together industrial mirages and ethnofictional mindscapes, Bambi OFS provides Antibody with a new suite of polyrythmic spins. Extending on his first ep YAKKA, KWON-9 blurs the line between the synthetic and the organic while pushing the Brussels-based producer’s interest in uneven grooves and mixed meters into sharper detail. Mirrored by the puzzling archaic-futuristic alphabet featured on the cover, this new set of trax softly draws the listener in an elusive and multi-faceted experience. Bambi OFS is Cédric Dambrain, composer, electronic musician and virtual instruments designer based in Brussels, Belgium. Dambrain’s approach to music is motivated by an exploration of perception thresholds, psychoacoustics, and the physiological impact of sound. This diversity of themes is matched by a wide range of productions which include electroacoustic computer music, compositions for ensembles, noise, sound installations and, more recently, club- oriented polyrythmic explorations. Dambrain has also been composing extensively for performance artists and music theatre.

Following releases from label founder Palms Trax, a reissue of eighties Chicago House innovator Rog’e, and a pair of cassette mixtapes from Berlin-based selectors Enchanted Rhythm and Budino, CWPT looks to the North-East of England for its next release, live and direct from REES.

Hot on the heels of a twelve-inch on Bordello A Parigi and underscoring a slowly simmering reputation as one of the brightest stars of his community, REES’s debut on CWPT is a classy and globally informed perspective on house, disco and acid styles.

Undistilled rhythm is at the heart of Rees’s vision of club culture; on title track, Devils Club, it’s effect makes itself known immediately, driving a channel of lively percussion towards a series of tasteful breakdowns that are both propulsive and alluring. On ‘Magic’, a confidently raw, loose drum loop accelerates into a glossy, psychedelic speed-chase that’s pure Miami Vice reimagined in Middlesbrough.

On the flip, two versions of ‘The Spirit’ tastefully expand beyond REES’s musical borders and into warm, cinematic territory, blending tropically tinted instrumentation with (and then without) an entrancing vocal sample.

vinyl only


The new storming 7 inch from Cedar Room Party, bring us the best of uplifting disco- house. Usual quality, providing two floor-focused tracks, perfect for many situations...

Ever get the feeling you’re being manipulated? Ever get the feeling you’re manipulating things? Somewhere between these two questions exists this seismic slab of dark post-disco drama from Leipzig duo New Hook: ‘Manipulation’.

The original version of ‘Manipulation’ has recently been released on Underground Pacific album ‘The Only Good Wave Is A New One’. But there’s more to story… Now redeveloped and reworked, ‘Manipulation’ has been manipulated into this epic club missile on Riotvan. Electrified and strident in its swagger, this new version maintains the duo’s sultry, provocative vocal but carries much more dancefloor weight. Every bit as sharp and to the point as the name New Hook suggests, it’s also been blessed with an equally forthright twist from dark disco don Curses who brings a little added funk to the bassline, manipulating the already manipulated ‘Manipulation’ with his own unique flare.

Now it’s time for your turn to manipulate it in the mix…

Repressed !

Clear Vinyl

The debut album from Samuel Coates, AKA Setaoc Mass, crystallises the expansive, left-field vision that's been brewing in his techno-focused discography. Now, downtempo, drum & bass and electro-influenced soundscapes come through strong, as the Manchester-born, Berlin-residing artist combines a decade of dance floor experience and a lifetime of wide-ranging music tastes. The album's 14 tracks transcend the dance with rhythmic and tonal adventure. The urgency of Coates' techno records remains, though now suspended in an unbound space that switches between unpredictable body music and eyes closed moments of escape. Timeless melodies recall the golden era of UK electronica, while ultra-modern production drives the record's microscopic details home. A lovingly crafted collection of the tracks that have been kept for when the time is right. It's the sound of Samuel Coates, then Setaoc Mass - vulnerable but visceral music that demands your full attention.

semi-clear blue vinyl

Emerging from the shadows, Hesperius Draco returns to Frigio with a solo release for the first time since his 2016 album Actus Tragicus.

Directive V conjures up the magic of giallo horror, silver screen slashers and smoky synthlines, while exploring something altogether new. Tempered percussion and low bass-lines introduce the 12” with “Lexploitation”. Cinematic influences percolate in the steady percussion and lonesome elation of “Memories of Sex Desire.” The mood changes on the flip with “Leaders In Space.” Guitar strings and breathy samples blend to create a leering late lounge track spiked with acid notes and vocoder bitterness. The finale brings something totally different. The gurgling acid line is amplified as Hesperius Draco unveils “Cyber Bondage.” Floor centric and machine steeped, stabbing synth-lines, rusted rhythms and an inchoate energy course through this finale to display yet another side of Alessandro Parisi’s sound.

Retrospect vol. 7 - Reshaping the 70s, 80s, & 90s with the sounds of now.

ALI presents its first Various Artists under the project "Walk With Me".

Pressed with Green Vinyl Records
100% recyclable records / 90% energy saving / less waste during production process.

180g vinyl pressing.

During the late 2010s, music lovers around the world began obsessively listening to increasingly esoteric albums on Youtube. More often than not, they’d leave the browser on autoplay. This was how Facundo Arena, the composer and producer behind The Kyoto Connection, discovered the technonaturalistic pleasures of Kankyō Ongaku (environmental music), a distinctly Japanese interpretation of European, British and American minimalist composition and ambient music. “It was a kind of algorithmic magic,” he says.

Upload by upload, the utopian music of Hiroshi Yoshimura and his 80s Japanese contemporaries transported Facundo back to his childhood. When he was five, his father placed him in karate lessons and began watching martial arts movies with him. From those early experiences, Facundo became fascinated Japanese history, tradition, and culture, particularly that of Kyoto - the cultural capital of Japan. Kankyō Ongaku reminded him of hearing the sounds of Japanese folkloric instruments as a young boy, and suddenly, the way the influence of Japan had manifested in his music made sense. “I had the sensation that for many years, I’d been doing something similar to the style,” he explains.

Inspired, Facundo used an iPad and an old Akai cassette deck to record Postcards, his homage to Japanese minimalism and Kankyō Ongaku. By this stage, he was twelve years deep with The Kyoto Connection, the musical project he launched in 2005 in his hometown of Buenos Aires, Argentina. Over that late 2000s and 2010s, Facundo, later on joined by collaborators Rodrigo Trado (drums), Jesica Rubino (violin) and Marian Benitez (vocals, now his wife), released numerous D.I.Y albums. Project by project, they followed the threads between 80s synth-pop, ambient, new age, house, techno and acoustic composition.

Postcards introduced The Kyoto Connection to listeners around the world and brought Facundo into our orbit. During Argentina’s covid lockdown, Facundo received a set of soundscapes recorded in Kyoto by the Japanese musician and sound designer Masafumi Komatsu. Over several insular months, he decorated them with synthesisers, samples and subtle rhythms, creating The Kyoto Connection’s next album, The Flower, The Bird and the Mountain to be released via Isle Of Jura offshoot Temples Of Jura.

Ostensibly made up of twelve distinct tracks, listening to The Flower, The Bird and the Mountain feels more akin to spending calm, meditative time in twelve specific environments. Although the foundations they rest on are recordings made in geographic locations around Kyoto, Facundo has yet to visit Japan. As a result, the landscapes he paints sit somewhere between fiction and fact, richly pictorial sonic imagination juxtaposed with echoes of reality. Regardless, as his bubbling melodies and glistening synthesisers glide against Masafumi Komatsu's recordings, Facundo guides us into a blissful zone of tranquillity well worth spending time within.

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.

High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.

Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.

From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.

Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.

The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.

Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!

100 Limited vinyl copies
It those times of a promised civilization collapse, truth revelations, questionings, and afflictions, spiritual ascension can
come as fundamental to avoid falling into the abysses. Psychotria isn't a release with the pretense to be of help for this, but this musical meeting of the versatile producer Cyberlife and the vibes explorer TrübTone appears as an attempt of bringing response to the eternal metaphysical question on why things are, as a liberating truth for the
mind. By this psychedelic exploration of music that breaks codes to go deeper in the sound, made of seven affirmed tracks, this release mixes together some elements of this complex puzzle that only transcendence reaches to complete.

Cape Town based DJ & producer Saunter is up next on Chat Noir Tools ! His debut EP is comprised of four bleepy house tunes blending nostalgic feels, peak-time euphoria, spacey and ravey sounds. This toasty four-tracker is unashamedly and sturdily grooved-out, packed with warm depth, and a playful attitude.

"We Are Power", Galaxian's first album in over a decade, cuts a new path. On this Foul-Up and Shipwrec joint release, Kastner presents a rumination on the confrontation and power clash between humankind, nature, the spiritual and mechanistic industrial growth societies. What is authentic power? What is granted power? What is innate natural power? How is power accessed, wielded, utilised, felt? On this album the blistering beats and razor-edged rhythms that characterise the Glaswegian's productions have been softened, the menace melted, the angst soothed (well almost.) Across eleven tracks, distinct audio vistas are surveyed. The human form takes centre stage from the opening monologue of "Out of Balance" with the entire record searching for balance between humankind, nature, orthodox culture & the machine. At times the machine wins. "We Are Power" is a corruption of voice, samples chopped, sliced and fed into controllers and sequencers to produce a dense decibel wall. That wall grows ever higher in the terrifying drone of "Anatomy of a Modern Lie." At other points, a perfect symmetry between artist and tool is found. The racing interchanges and pulses of "Universal Truths" give rise to dawning reprises and warmth. For those after an electro fix, Galaxian abides. The speed snares of "Messianic Delusions" or dripping drums of "Fields of Meaning" are soaked in the history of machine music, yet they are grander in their delivery and more nuanced in their composition. Fresh territories are explored, the playful solar dreams of "Without Form" or the cinematic grandeur of "In Reverse". This album is unmistakable Galaxian, it marks a high-point and brings with it a culmination of intense expression.

Another seemingly obvious addition to the chosen Planet Euphorique family is underground icon Angel D'lite, presenting “303 Dalmations” as the label’s 18th release. The 5 tracker screams ruff ‘n’ ready rave with a delicate touch, embodying playfully rude dancefloor attitude politely requesting you to check your ego at the door. The South Londoner Mz D’lite carries the torch for the ambitious wave of Nu skool sounds, inspired throwbacks and masterfully crafted break work that has you stomping the house down.. Boots. Bold, brave & in your face; not for the faint hearted, a true sonic reminder to not take yourself too seriously.

Setting the tone is the title track, a tongue in cheek laugh in your face. With no messing around a brazen breakbeat assault leads the way for bleeped out bliss and building sub bass; cheekily tricking you into a 4/4 moment. The climactic chaos continues through Just Trippin, offensively tense stabs; building — ferociously, borderline losing control with the UKG hybrid ventures elevated by filtered chops and screws and a late blooming 303 workout. Tempos? High as hell.

Ell Murphy lends her passionate vocal essence to 7am on the A side closer. Feel the rush; transporting you to a moment in the dance which feels nostalgic and yet still to come.

Emo-jungle, cyber centred and spine chilling; Liquid Skies feels like a cold london morning after the rave, introspective yet unable to stay still, “in and out of control”. The record ends on a comparatively weightless low-key progressive builder Relaxcersizer. Holding the same sentimental harmonic bone engrossing sensation that trickles through the EP; with a little more patience, a moment to absorb the kaleidoscope of frantically exciting musical ideas laced throughout. This record is an ode to the dancers..Need I say more? You’ve read enough, now listen.

AMPHIA is honored to welcome UK legend 100Hz to its ever-expanding catalogue.

AMP024, a four-track EP titled "Improviser", is a statement of Lee's long lasting career as a visionary producer.

Combining intricate polyrhythms with an assorted sound aesthetic, each piece has character, as much as it does a mood of its own, seamlessly blending together throughout the moments of a set.
We hope you'll enjoy it as much as we do!

CircoLoco Records is proud to present the Monday Dreamin’ Vinyl Box Set, a 5-LP collection releasing on May 20, 2022.

Featuring heavy-hitting releases from visionaries of every era of CircoLoco’s 20-year party history, including Carl Craig, tINI, Kerri Chandler, Rampa, Sama' Abdulhadi, and other icons, the acclaimed debut compilation album from CircoLoco Records is presented in matte full color sleeves with box artwork designed by TOILETPAPER.

With support from DJ’s worldwide and accolades including back-to-back Essential New Tune awards from BBC Radio 1’s Pete Tong for Seth Troxler’s “Lumartes,” and DJ Tennis’ “Atlanta,” Monday Dreamin’ has already carved out a unique place in the world of dance music having been featured in the digital world of Los Santos in Rockstar Games’ blockbuster Grand Theft Auto Online: Los Santos Tuners which also featured Monday Dreamin’ artist Moodymann as a new character in the world.

Monday Dreamin’ is the first project from the pioneering partnership between global club culture icons CircoLoco and the creators of some of the world’s most popular and critically acclaimed video games, Rockstar Games, a partnership aimed at elevating and supporting dance music through the collective power of the two entertainment brands.

NO.2 on the groove charts!
Following a year that saw the 50th entry in the long-running series released to wide acclaim, DJ-Kicks returns in 2016 another landmark edition. Iconic Detroit DJ and producer Moodymann is at the helm for his first ever multi-artist DJ mix compilation. Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music's most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.
Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon's aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard-to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house. In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, DJ-Kicks showcases the taste, skill, and soul of a dance music original.

Son of Chi returns to Astral Industries, alongside Spanish artist Clara Brea, for the collaborative release of AI-29. A product of fate, chance experiments, but most of all, sensitive artistry - ’The Wetland Remixes’ exists as a confluence of two kindred musical spirits, a wayfaring epic that draws together a rich archive of ecological field recordings, live instrumentation and higher inspirations.

Ahead of Hanyo’s concert at Calma (Madrid) at the end of 2019, the curators organised a special dinner and arranged the meeting of Clara and Hanyo. As Hanyo recalls,“It was like stereochemistry. There was an instant match and understanding, and basically we decided in a split second to exchange recordings and to collaborate on future live and studio experiments.”

The auspicious meeting of the two ignited a remote exchange of materials and ideas, as the world descended into a series of pandemic-related lockdowns. The first of said recordings included the stems of Clara’s ‘Wetland Project’ - a site-specific audiovisual project originally produced for Eufonic Festival (Spain), using field recordings from the Ebro Delta nature reserve (one of the most threatened regions of climate change on the Iberian peninsula).

From this initial impetus, Hanyo began working on the first sketches of the album back in Rotterdam, Netherlands. Just like their meeting in Madrid, the project developed naturally and spontaneously with extraordinary ease. Later, Hanyo started adding field recordings from the Magic Cave and Wetlands of the ‘Kallikatsou’ (Patmos, Greece) as well as organic and acoustic overdubs, featuring bass, drums, percussion, guitars, oud, piano, hammond organ, wurlitzer, flutes, bells, and mouth harp.

In the distance, the sound of birds peak through the effervescent wash of the wetland soundscapes. The pass of running water flows deeper into a land full of secrets never told. On the strike of dusk, the silhouettes of shapely trunks and foliage melt slowly into the impenetrable darkness. As darkness passes, light emerges, with exquisite moments of tranquility that seemingly emerge from nothingness.

Beneath the shimmering veneer of textures, wildlife and melodies, one may hear the deeper references of ’The Wetland Remixes’. With credit to Clara’s input, for Hanyo the album process became a kind of refuge, and ultimately inspired the return to the core of Abstract Sound - what the Sufis call“Saut-i Sarmad.”Such references allude to the spiritual quality embedded in the music - the autonomous process of self-expression, the great mystery. Hanyo: “An ambience like this cannot be created by routine. There is no blueprint. The music has to find you. It’s like a blessing if it happens. You should not interfere, just observe and be impressed...”

Deep, luscious mind trips as per the classic Chi sound, ‘The Wetland Remixes’ beautifully correlates the interconnecting dots of geography, ecology, and mythology’s forgotten lore.

Three years after he released the incredible New Experience EP (picking up plaudits from Bill Brewster, Tim Sweeney, Laurent Garnier, Horse Meat Disco, Leo Mas & 6Music’s Tom Ravenscroft, among many more), Tokyo’s Kota Motomura returns to Hobbes Music for his debut LP, Pay It Forward. This is the first vinyl release on Hobbes Music since the much-loved ‘Aranath’ EP by Leonidas & Hobbes last Spring. While the label maintains the level of quality control for which it has become recognised, the artist continues to subvert electronic and dance music norms in his iconoclastic way on this extraordinary record.

He’s a mysterious character with an ear for idiosyncratic music that runs the gamut from ambient, exotica and jazz to disco, house and techno via post punk, new wave and funk. It’s highly original and all adds up to a confection perhaps best described as ‘Balearic’.

Album opener Paradise is a certified jazz-funk JAM. Destined for dance floors worldwide, this one’s been dropping well with DJs, Motomura demonstrating his piano chops alongside Mutsumi Takeuchi’s sax. Tropical pushes the boat in a more rhythmic direction, some pretty wild drum programming laced with more sounds of the, um, tropics, before mad vocal yelps suggest something yet more tribal. To Be Free initially resembles early 90s progressive house (pulsing bassline, synth-driven melodies), before the arrival of some new wave guitar licks a la classic Talking Heads/David Byrne and ooh ooh vocal chants take it to another dimension altogether.

B-side opener Emotion features Takeuchi again (on flute this time) and more vocal chants before things take a dramatic turn, threatening to open up into a full fanfare before calming and then bursting into wild life again with the exhortation that “C’mon, everybody dancing!” Rhythm flirts with an energy and pace more akin to a techno record: drums, drums, more drums plus a fair few yelps and chants - the kind of DJ tool that will send a simmering dance floor wild in the right hands. Flower closes things in a more melancholy style, familiar to fans of ‘Aboy’ from the New Experience EP, with plaintive acoustic guitar (performed by Akichi), birdsong and big piano chords.

Support from Bill Brewster, Leo Mas, Al Kent, Red Rack’em, Nick The Record, Phil Mison, Phat Phil Cooper, KZA, Sean Johnston (ALFOS), S/A/M, Dribbler, Joe Muggs, Monolith Cocktail and more…

‘Gonna review in MÜ mag... very fine stuff!’ JOE MUGGS
‘Will be reviewed on the blog’ MONOLITH COCKTAIL 
BILL BREWSTER played Flower on the DJ History podcast #641 (25.3.22)
'I really like this album, Flower and Paradise are my favourite' LEO MAS
‘I like Paradise’ AL KENT
‘Woo this is tasty. DEFO playing on my next radio show. The label’s A&R is defo getting better and better. HM has been putting out some dope stuff and this one seems really good quality’ RED RACK’EM
‘Paradise and Flower sounding good’ NICK THE RECORD
‘Tunes sound great!’ PHIL MISON
‘Going to include Paradise and Flower on my Sunday Ibiza global radio show PHAT PHIL COOPER (Nu Northern Soul)
‘Very nice album with influences from many different genres. I especially like To Be Free with nice synths and guitar cutting, and Flower, which is a chill vibe’ KZA (Mule Musiq, Endless Flight)　
'100% correct about the ALFOS potential of To Be Free!' SEAN JOHNSTON (A Love From Outer Space)
'Stunning, will fit perfectly with the vibe of my radio show’ S/A/M (Music For Dreams, DK; Playa Del Sol, Ibiza)
'Stellar work, i'll make a bet that Flowers is a Balaeric classic this summer' DRIBBLER (Breakfast Club, Ibiza)
‘It's cool in a nice smelling psycho sense, it was a very DEEP sound that I couldn't produce. Congrats!’ ALTZ (Altzmusica)
‘Paradise is my jam, it's deep, sunny and never boring. I'm interested to see how this will work on the dance floor. Overall a great album with solid composition and impressive use of live instruments!’ SOBRIETY (fka Chloé Juliette)
'Very tidy selection' ASTROJAZZ (Kelburn Garden Party, Wee Dub, Samedia Shebeen, Disco Makossa)
‘This is a lovely release. Follows on from New Experience in the best way possible. It's got lots of vibes going on but holds together as a cohesive piece of work. Love it’ JAMIE THOMSON (La Cheetah, Glasgow)
‘To Be Free is a track i could imagine Andy Weatherall playing in one of his sets at A Love From Outer Space’ KIRSTIE PATON aka She-Bang Rave Unit (Threads Radio, Radio Magnetic)

Black Vinyl

Time has come for Futurepast to release a long format album: Alarm Phase Red - catalogue number FPLP01 - will be the first full-length work from Futurepast founder Davy Vandegaer, appearing here under a new name: Brainwashed Today.

Rooted in a conceptual approach of electronic music, this double LP ranges from industrial ambient to experimental techno. Like an antidote to a twisted reality of controlled screens and mental isolation, Alarm Phase Red uses the raw language of electricity
to reach the core of the machine and sabotage it, reverse its effects by mirroring them. Fighting fire with fire, deflecting the pressure and strain of a world driven by fear and anger, the music of Brainwashed Today acts like a cathartic escape from technological enslavement.

With the purchase of the vinyl comes a batch of three digital bonus tracks pursuing further the sound research of the album.

Part two of Arthur Robert’s most recent EP package showcases his atmospheric style of dubby, strong rhythms and rich, detailed sound design.

On this EP Robert explores his mastery of mesmerizing machines, looping bleepy signals into trance-inducing patterns on Abundance, Watchful and Homecoming. A welcome brief respite from the madness, delicate ambient interlude You Cannot Hurt Me twinkles soothingly, as does the warmth offered by subdued hazy chords on the almost housy Tunnelvision.

Such versatility not only further establishes Arthur Robert as one of current Techno’s most promising producers but also makes this EP package a strong contender for one of the year’s defining releases.

REPRESS !

Gestalt Records present the 4th installment of their
Anniversary Sampler series, including brand new danceoor
cuts from Tywi, Route 8 and Reex Blue, as well as a longawaited reissue of 2 Trip 2gether’s 1995 classic, 'Same Trip'.

Debut album from Alex Ho out of Los Angeles.

In his foundational essay on Los Angeles, L.A. Glows, the essayist Lawrence Weschler speaks on the city's uncanny, immediately recognizable light; "The late-afternoon light of Los Angeles—golden pink off the bay through the smog and onto the palm fronds." Weschler traces the city's mysterious refracted light from the iconic paintings of David Hockney through the city's frequent portrayal on film and TV, noting its ability to put residents into a state of "egoless bliss."

Similarly, Alex Ho's new album for Music From Memory, 'Move Through It', radiates with the unmistakable LA glow. While the Pasadena native's studio work is just now coming to light, Ho has long been a fixture in the Los Angeles dance music scene, throwing what are perhaps the city's most musically expansive warehouse events and carving out a singular voice as a DJ, as heard on his brilliant Moony Habits show for NTS. The eight-track record, however, lands in a more contemplative zone, better suited for a golden hour drive than a night out.

Though it's his first record, 'Move Through It' is the accomplished work of a fully-formed artist, produced patiently between 2017 and 2020 with help from friends including Baba Stiltz, Phil Cho, Damon Palermo and John Jones. "Mark," the Koanic track conclusion side A, is an arpeggiated slow burn reminiscent of Pino Donaggio's brilliant score for Brian De Palma's 1984 film Body Double. Ho's stunning, pure falsetto soars above gentle melodies. "Miss Suzuki," the piece that originally caught the ear of MFM's Jamie Tiller and Tako, opens the record with a blue, cinematic sway. Ho's facility for poignant melodies—easily conveyed through saxophone, vibes, various keyboards and his own voice—shines on "College Crest Drive," as well as the title track. The lyrical "Move Through It" and the restrained and beautiful closing cut, "TYFC," are abetted by glimmering Kraut guitar figures courtesy of John Jones.

While Ho's rhythms and melodies paint a crystal-clear musical vision, the music's emotional centre is more elusive, indicative of a yearning feeling synonymous with the City Of Angels. Hitting these hazy and subtle notes, Move Through It falls within a canon of sun-addled records spanning from Herb Alpert's "Rotation" to Dam-Funk's Private Life trilogy as Garrett. An immersive and concise statement, Alex Ho's 'Move Through It' is as warm and uncanny as the city that inspired it, a definitive LA album.

White Vinyl

Pink Vinyl

The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world.
What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrainedin the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right. Now the year is 2021. Four decades have passed and NO MORE's „Suicide Commando“ is
back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format.Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981. And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO MORE's „123456789 *baze.djunkiii & Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019.

SAM Records was one of the labels at the forefront of the Disco Genre when the format was at its creative peak. This was the late 70’s and early 80’s, when the producers and artists involved were all using top notch professional recording studios with live instrumentation and their focus was on songs and rhythms that would make the dance floor move. Sam Weiss the founder of SAM was involved with various aspects of the music industry in addition to his role running the label, but the Sam Records imprint was his greatest passion, and that energy comes through in the songs that make up the catalogue. In this compilation we have engaged some of the world’s premier producers of the current disco inspired sounds that are blowing dance floors worldwide. They have used their talents and appreciation of the genre to mix, edit and master these classic jams into disco inspired productions that are fully equipped to ignite DJ sets and dancefloors worldwide.

Returning to his Rumors imprint Guy Gerber delivers his latest missive, ‘Pyramid of the Moon’. Offering up a four -track EP, the enigmatic DJ/producer drops four delicately crafted house tracks featuring Gerber’s own guitar playing and Albertina on vocals.

The title track ‘Pyramid Of The Moon’ sees Gerber play with chugging low end, twinkling keys and warping guitar licks, crafting a hypnotic atmosphere throughout the track’s duration. On the flip, ‘The Untold Glory of Mister Nobody’ pairs upfront drums with further guitar chords and airy synths, fusing to create an emotionally climactic slice of Balearic bliss.

On the flip Guy team’s up with singer/songwriter Albertina for the enchanting title track, the duo combines guitar licks, shuffling percussion, and subtle synth lines with Albertina’s sublime vocal performance. On the flip, ‘Polaris’v sees Gerber take the wheels solo, drawing upon his years of expertise to craft a deep and moving piece complete with twinkling arps, deep low-end, and piano work.

UK techno legend Mark Broom releases ‘100% Juice’ LP on Rekids.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed Rekids Special Projects, Mark Broom returns to Radio Slave’s imprint for his latest full length, ‘100% Juice’, dropping this April.

Title track ‘100% Juice’ leads the charge, barreling forward with phased hats and trippy bleeps, before ‘Slush’ carries the rest of the A-side with dense synths and stereo trickery. ‘Rainbow’ bridge sees muted chords drifting in and out of focus alongside rattling drum programming before ‘Reverse’ mutates dub techno inspired elements with swathes of spacious FX and pitch-perfect processing.

Opening the second disc is the aptly titled ‘Wonky Workout’, which sees hard-hitting kicks meeting freaked out leads, followed by the fast-paced ‘I Want’, which brings crunchy, shuffling percussion and effected vocal samples together to devastating effect. The final side of vinyl is the one-two punch of ‘Boxed In’ and ‘Wiggle Me This’, with the former bringing sharp keys, rumbling low end and glistening pads, while the latter closes out the LP with warped acid lines and crisp drums.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently beenat the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.