quête:bp

Mood II Swing classic from 94... Often imitated never bettered.
Contains the epic Mood II Swing dub - one of their best Dub's of all time plus all the original mixes.

If you don't own a copy of this now if your chance to have this benchmark in house music's history.

Beautifully re mastered and repressed for 2015 in conjunction with King Street Sounds.

Time to welcome Session Victim back to Delusions Of Grandeur following some heavyweight releases on Toytonics and Rhythm Section International. The German duo show absolutely no signs of slowing down continuing to impress with their unique sound which combines organic live elements, fat, floor-filling beats and a deep, musical approach. Here on The Intangibles EP we’re treated to three original tracks spanning high energy jazz disco meets techno, soulful uplifting house and downtempo blunted beats.

Opener Motivation features spoken word from Ras Stimulant backed by urgent looping Rhodes stabs and an uptempo disco groove. An instant Session Victim dance-floor shaker if ever there was one, the energy cranked up to the maximum without losing sight of that all important groove.

Next up we have Dromedary Twist which keeps up the pace but goes deeper on the jazzy organ chords and lays down a heavy syncopated bass- line which ensures the funk factor remains present and correct.

Rounding out the EP in fine style, Green Run drops the BPM’s as we head into lazy, hazy, blissed-out jazzed-up beats territory. Lush strings and layers of analogue synths come together on this simple yet enchanting little tune which compliments the other tracks perfectly and will appeal to fans of SV’s more home-listening output from their 2020 LP Needledrop.

DMC World Champion and IDA World Champion

Murmuur is audible in the dark only.
And shall be listened at high volume.
A side brings 180 BPM 45 RPM mental Industrial Hardcore... The flip goes Doom and Downtempo with atmosferic drops... landing on a thick fat pityless kick ! And then will come the last tune : a double tempo Doom thing, sober and apocalyptic !
All in one, Murmuur brings massives kicks & extreme sound designs. This reminds me a bit of Hangars Liquid sound...

Splendid bi-color plate (B&W), coming in a gatefold sleeve.
Records are sealed.

Expensive record for a single but really was expensive and also... shipment and customes from Australia were crazy...
Records' sleeves arrived in perfect condition to us :) That's already a good news ^^

ENJOY.


b A2 Death In The Forms Murmuur Remix

An ultra-pitch non skip DJ scratch tool with new content on vinyl by Ritchie Ruftone.

A side at 100 bpm
B side at 133bpm
Weighting in at 135g

Includes free digital download.

O-Wells and 41ISSA have teamed up for their first joint EP. Marking 41ISSA's release debut, the result is three tracks full of speed and space-filling melodies: think big festival stage, think rave, think 2010 dance music (in the best possible way). Taking influences from their early clubbing years in the late noughties, O-Wells and 41ISSA found a mutual musical voice in a large and crisp sound between electro, techno and trance. Catchy melodies take the lead, backed by reverberating claps and relentless basslines that build up to rich club tracks. Opener "Suzuki" is a 149-bpm laser-focussed workout with a raucous deep synth. The Berlin-based producers embrace the trancier side of contemporary club music in "Are You Ready", with a breezy ambient intro that leads into an epic dome of darkness. The more reflective"Pulse" takes it down a notch, breathing a sense of calm - an introverted techno track dripping with melancholy. A bleepy electro remix by Finnish DJ and producer Sansibar completes the spectrum of "BKM", an EP sure to be heard across club dancefloors this winter. "BKM" marks 41ISSA's first release as a producer. She's been part of Live From Earth since 2018 as a DJ, covering a wide range of genres with a zeal for emotional sound textures and a lot of bounce, from ambient to club and techno. O-Wells has been producing for more than a decade now, having found a musical home at Die Orakel lately. Both are not only partners in music, but also in life. "BKM" is short for "blutigekaesemauken", their joint alias as which they've been making music since their early days of dating.

V.I.V.E.K announces his second release on the self-named VIVEK label. Known for his cult label, SYSTEM MUSIC, this label focuses more on eclectic 140 bpm outside the realm of the dance floor.

The 4 track EP explores broken beat, ambience, melody and rhythm at 140, something that has been missing over the last few years within the genre. Colours is not only the EP title, but a reflection of the diversity of the tracks. Musicality sits at the heart of this with a nod to easy listening.

“The main focus of this release was to take me out of my musical comfort zone. I wanted to work with other musicians as well as push myself to inhabit new creative ideas.” - V.I.V.E.K

Whether it’s as an artist, label owner, a deep-drawing world-touring selector or system-building soundman behind some of London’s most important dances, V.I.V.E.K has an inherent drive to push things forward and contribute to the craft of music with serious attention to detail. A life-long frequency student dedicated to soundsystem culture, he has total respect for the heritage, value and rich variety of true music, an ability to totally arrest your full attention and imagination with his music... And has done so since he emerged in the early 2000s.

Musically pressed and blessed on key imprints such as his own System Music, Deep Medi, Tectonic and iconic reggae imprint Greensleeves, V.I.V.E.K’s creations are a crucial brew of bass styles encompassing everything from heavyweight bass hypnosis to flighty, steppy garage hybrids via sweet dub soul and all-out low-end pressure. His self-built custom soundsystem, SYSTEM, meanwhile, is a unique force of nature in UK bass music culture; the most prominent modern system to be established this decade, it’s a whole new chapter in the UK’s longstanding and illustrious history of barrier-breaking soundsystem communities. As such, it attracts committed fans from around the globe and selectors from across the system spectrum.

His label System Music has the same treasured, trusted status; not only as a source of legit never-to-be-repressed artefacts that prize the real value of music, but also as a key platform for encouraging forward-thinking, powerful system music from across the OG – freshmen continuum. Karma to Kromestar, Sleeper to SP:MC, LAS to Egoless: System Music’s celebration of bass music’s sonic scope and nurturing of talent and craft ensures its consistent buy-on-sight ranking.

Most importantly it’s as a selector that V.I.V.E.K’s position is the most vital. The selective tailor of rich, immersive and eclectic sessions, few DJs dig as deep, join the dots or draw for dubs quite like this West London operator. Accentuating his influence as a producer, engineer, dubsmith, label curator and system builder; his creative excursions as a DJ, both on the dancefloor and the airwaves as a broadcaster on the likes of Rinse FM, galvanise his status as one of the most respected, influential and singular artists who is driven by nothing but craftsmanship, unity and the sense of culture that UK bass music needs to thrive and inspire.

Still transmitting from Lockdown in the UK. Banoffee Pies Records 14th release in the original series comes from London based ANGEL D'LITE. A deep passion for rave and NRG with an established high-octane approach to music, heavily influenced by hardcore and early pop bangers, her debut EP further reflecting this mood. Three heavy club tracks and a broken beat dubbed remix from JAY to round things off.

The A side is laced with harmonic 90's vocals and euphoric trance synth lines with two versions of "CRYSTALZ". The original, heavily packed with punching drum patterns and UK hardcore builds, followed neatly by the "DIAMANTÈ MIX". A nostalgic UK Garage take with building pads and rolling hats, partnered by murmuring emotional vocals. Perfect late night club fodder.

The B side flips the mood with "DANCE LIKE DOLPHIN" - the original version setting the tone for early AM adventures. Junglists, sonic communications and club lazers setting in throughout the growing euphoric 90's blends, aquatic frequencies and swirling sub bass. The remix from JAY, another London based producer, follows with an energy shift to a more minimal and rough edged depth of textures and colour, with splatters of surprise elements throughout. Everyone has a crystal and dolphin side right? Love core music from BP xx

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

Nach seinem Debüt auf der We Are Not Alone-Compilation von BPitch legt der Franzose Crystal Geometry nun seine erste ganze EP für das Label vor. In den vier Tracks zeigt Crystal Geometry seine Vielseitigkeit zwischen spielerischem und experimentellem Modus und nutzt sein Können am modularen Synthesizer, um uns ein paar starke Tracks zu präsentieren.

Canada's foremost robot returns to his higher bpm electro-form with "Thaw EP". Four analog heavy tracks of melancholic system-100 and 808 workouts combined with icy strings and the catchy synth work he's known for. Includes a previously unreleased version of the much-lauded "8_Op" (original released on Satamile Records NYC, 2006) to ensure things heat and melt accordingly. A whirlwind of emotion, right on the cusp of bliss and melancholia. Artwork comes from Geometric Love / UK. Fire.

Mum No Hands’ - an assured four tracker that draws on Bristol bass, footwork, jungle and broken techno to create something fresh and upfront. A certified stalwart of the Bristol scene, Yushh (aka Jen Hartley) is already well on her way to becoming a household name. Over the last few years she has toured extensively across Europe’s festival and club circuits, landing sets at Freerotation Festival and HÖR along the way. Her label, Pressure Dome, is known internationally as a go-to outlet for various offshoots of forward-thinking, soundsystem-ready UK techno, with a roster that includes Sputnik One, Caldera, Ido Plumes and Cando. So far, she has only teased her production skills with a string of one-off drops and remixes, including features on Rhythm Section, Banoffee Pies and All Centre. On ‘Look Mum No Hands’ she finally lays out the blueprints for her unique, club-honed sound. The title track skips along at a nippy 160 bpm, driven by a slow/fast halfstepping beat and monster bassline that places it somewhere between DMZ and Teklife. ‘Same Same’ drops the tempo down to 130 bpm, with loungey keys and a skippy vocal chop offsetting a cavernous low-end. On the flip, ‘Close Fall’ squeezes darkside d’n’b sonics into a chugging 95 bpm beat template, while ‘Self Couscous’ takes an intricate, glitched approach to jungle/broken beat reminiscent of mid 00’s Planet Mu. Genre: Dance / Bass

REPRESSED

Defending the 2014 titles for both DMC World DJ Championship and the Battle for World Supremacy. The only DJ in history to win the UK DJ Championsh and Battle for UK Supremacy 2 years running. Ritchie Ruftone brings a skip proof DJ battle tool.

Both sides of the vinyl contain the same scratch samples, one side is 4/4 at 100 bpm and the other utilizing 3/4 ultra-pitch. The 'go to tool' tool for all your scratching needs, regardless of bmp tempos. All samples land on 6 and 12 o'clock. Drop the needle anywhere and practice yo cuts!

Having spent the past few years supplying low notes as bass player for a who’s who of UK Soul and Jazz talent (including Tom Misch, LoyleCarner, Berwyn, Jordan Rakei, Poppy Ajudha, Jamie Isaac, Puma Blue, Jorja Smith, Alfa Mist & Charlotte Dos Santos) Rudi Creswick steps into the spotlight with his first full length solo offering ‘Different Forms’ on Alfa Mist’s Sekito imprint.

Hailing from Newcastle-Upon-Tyne, Rudi was immersed in club culture from a young age, the low end sonics of which guided his playing, and led him to discovering his own style In the years that followed, Rudi continued to hone his craft, melding the sub rattling sounds of Hip-Hop producers such as J Dilla, MF Doom and Knxwldge with the technical sensibilities of influential Jazz players such as Pino Palladino, Derrick Hodge and Thundercat.

With this record serving as a chance for Rudi to stretch his creative legs, the aim was to showcase the many musical sides of his creative spirit. The first single lifted from the project ‘Sometimes’ enlists the vocal talents of the incredible Emmavie - who dives into self-reflective and cutting, honest lyrics. She explains: “No one ever leads with “often temperamental, quick to anger and generally hot and cold” when describing themselves. Something about Rudi’s laidback production and bouncy singing bass line pulled this reflective and apologetic yet playful subject out of me. “

On the LP, Rudi says: ‘This whole project is thanks to Alfa , Barney Artist and the team at Sekito who’ve helped me realise my dream. They had faith in me for which I’ll always be grateful. The project’s kind of all over the place because there’s so many corners to anyone’s being, inspirations and their musicality, so I wanted Different Forms to reflect that’



Throughout the record, Rudi’s musical prowess and vast influences are laid bare for all to see. From the gliding melodies and twinkling keys and hazy fanfares of second single ‘Peace Of Mind’ (Feat. Manny & The Coloured Sound) through to the sparse and haunting tones of ‘Charlotte’ the LP traverses high peaks and deep valleys, channelling a sense of beauty of textured mystique throughout. Sporting an impressive roster of collaborators including Alfa Mist himself, Trumpeter Sheila Maurice Grey (Kokoroko), Chelsea Carmichael on Tenor Sax, Barrel Jones (Drummer for Nubya Garcia) and Vels Trio’s Jack Stephenson-Oliver (who played synth for the track ‘With Want You’). The lush instrumentation provides an incredible backdrop for esteemed performers such as Barney Artist to drop bars over the crisp drums and laid back strut of ‘Holding The Fence’, meanwhile Berwyn supplies sombre lyrics of the vast expanses of ‘96BPM’. An emotive and engaging listen from start to finish, ‘Different Forms’ is a truly stunning debut.

Superb 170 BPM freetekno acid EP from Stannik and Miltatek.
East France dancefloor killer Milytatek delivers here 2 collabs and 2 solos.
Underground Spaces, the first tune is a 170 BPM chanting acid. Superb.
Troubles Auditifs, the second tune, brings a 166 BPM nostalgic at the core-limit track, melodious acid Electronica sensitive music...

La Colère De La Meute, solo track from Miltatek is a twirling loops tune supported by an icy acid thrumpet. The kick is a loud bassy thing, stable tune with no crazy excitation. Nice one !
For the finish, Miltatek brings Eternity. Once again a stable tune more based on a melody rather than on high acid ear-killer. Nostalgic on the tone,.. Super dancefloor on the kick... and icy Acid on the pickles :)

BIG ONE !!

Heavy Hartdek, 160 to 170 BPM hardtek, Dark and psyché. With acidcore pinches and dancefloor : kind of a Hardfloor sound !

Riviera Records presents XTC002: The Atlantic Connection with non-stop flights to X-Coast from Ireland, UK and USA.

The first route offers a very intuitive bass and breakbeat driven ride with a Tama Gucci signature, sensual vocals cutting through the airspace. The second journey is flying over (hard) house territory
with DJ Torture serving the snacks.

The B side we have a UK to X-Coast red eye flight with a trance edge courtesy of Capt. Ejeca. B2 is the only supersonic flight offered at this time navigated by Tommy Holohan: a shuffled up Reese bass powered techno from Ireland to X-Coast in just 4 minutes and 57 seconds - buckle up.

Attention: BPM changes at short notice!

The Neoacid sound consist into a wicked melt of Industrial trippy techno and acid 150/160 BPM Hard techno... A splendid collection of 4 banging Tunes... Only big ones here ! MUST HAVE !

Samosa Records heads into the autumn with a crackling and enchanting EP from one of the masters of funky grooves and dusky beats, LTJ EDITS.

Opening the EP on the A-side, we have the perfectly pitched ‘Somebody’. Tight bassline merges with church- like organ chords, a sharp guitar riff and a soulful vocal that you feel in deep your bones. Meticulously constructed, this track will resonate with anyone familiar with LTJ Edits’ work (and newcomers alike).

A2 brings us the title track, Mr Man. This masterpiece has everything you want from a slow, thumping groove. At 98 bpm, it’s a trademark LTJ Edits smackdown, but oh boy - it has so much more in the trunk. Mesmeric, hypnotic - the familiar smooth mid-range tenor vocal gives you goosebumps on your goosebumps. An instant classic.

The B side kicks things off with mid-tempo stomper ‘Give All’. Make no mistake, this is LTJ Edits in the kitchen cooking soul food with a hint of blues and lashings of rare groove. A rolling, powerhouse of a track that also delivers a message to the masses, you’ll have this one thumping out of your speakers for a long, long time. Everybody needs it. Got to have it.

Finishing off this outstanding release is the cherry on top of the funky cake - simply entitled ‘James’. As soon as the guitar riff and bass starts, you get the meaning behind the title. This is all about the raspy, unmistakeable vocal, chanking guitar and funkadelic, bluesy bassline. A rhythmical, funk infused JB bath bomb from start to finish. After your first listen, you’ll want to go straight back on this ride.

The Mr Man EP is a serious chunk of vinyl and LTJ Edits has found a perfect home at Samosa Records. You have this in your record box and you’re ready for anything.

Dj T-Kut y Dj Player proudly present a essential tool for begginner and advanced deejay players. You can practice skratch endless. 12 Loop tracks. You can find 2 different speeds 100 BPM and 133 BPM for UltraPich use, optimizing at maximum the use of the vinyl. This is a new limited version presented in 7" format in colour highlighter yellow vinyl to enjoy in both ways of this wonderful LP. Great release for the veteran guys in the house.

Ellen Allien und das We Are Not Alone Kollektiv sind zurück mit einer zweiten Ausgabe der 'We Are Not Alone' Serie. Eine 36-Track-Compilation, aufgeteilt in drei Teile mit jeweils 12 Tracks, die der berüchtigten We Are Not Alone-Eventreihe und den besten Berliner Underground-Techno-Talenten gewidmet ist.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

The We Are Not Alone compilation features artists that have played at the parties, as well as those who will join the line-up for future events. The 4th, 5th and 6th parts include music by Ellen and established names names such as Thomas P. Heckmann, Dollkraut & DJ Europarking, Francois X, Phase Fatale and Etapp Kyle. Rising stars Nene H, Nur Jaber, Stephanie Sykes, Wallis and Métaraph. BPitch signings including Rosa Anschütz, Shaleen, Matasism and Uncrat.
For this installment of the series, Ellen Allien collaborates with esteemed director and photographer Stini Roehrs for the multidisciplinary project ‘’AFTER DARK – Emotional States of Techno’’, consisting of a virtual rave film, book and exhibition produced by AKKURAT Studios, and the We Are Not Alone VA, which is to be released physically and digitally via BPitch.

The next We Are Not Alone parties take place at RSO, Berlin in July, August and October of this year. 22nd July, CSD weekend, is set to be a single night event on two floors. 20th August a We Are Not Alone floor during the RSO Club Festival and then we’ll be back for over 30 hours on 15th & 16th October. Watch this space.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

YUKU's fourth record in what's becoming a increasingly sought after vinyl-only series of anonymous white labels brings the mysterious Kliptown alias back for a solo release. Extremely fun and versatile 130-140 bpm broken beat weapons.

Tombolo Rumble Vol I. is here! The first volume of a list of selected releases by different artists from around the globe. Proud to be presenting four tracks by four upcoming and established legends on the panorama of electronic music: Unknown Mobile, DJ Dog, Poly Chain and Abdul Raeva.

First artist on the list is Unknown Mobile, an amazing producer and dj based in Montréal, Canada. You may know him well from his well received releases across some of the dance sphere labels like Planet Euphorique or Pacific Rhythm among others. What you can find in his track is a 4×4 upbeat house atmosphere that goes along with crazy synths, and a beautiful armony creating a perfect melting for the dancefloor. Second track is by DJ Dog, the fun aka of DJ Fett Burger, a Norwegian legend based in Berlin founder of projects such as Sex Tags Mania or Trushmix. He comes with a downtempo, jumpy track, with very fun percussions and synths that will make you feel as if you are walking on Mars. Third track is by Estonian duo Abdul Raeva. Huge track for the club, upbeat techno with acid baselines on a fast bpm percussion. And last but not least, we have Poly Chain, a Ukranian artist that is getting a lot of attention due to her strong mixes as well as her productions, delivering some fat broken beats with acid baselines as well.

Tired of the crazy pandemic lockdown time, we've got another Bourassa release.

Smolny, who recently debuted with the song 'Secret' on the PLUR vol.4 compilation for Lobster Theremin, returns to his label this time with the 'Magic Series' of 4 beautiful rave tracks from the 90s.

The A side offers two wonderful classic old school jungle sounds, which recall the crazy times of that golden era. Cheerful pianos and twisted well-known vocals take us into a magical world.

On the other side, 'Fantasy' and 'Euphoria' at a slightly faster pace of 140 bpm, brings us killin' happy hardcore vibes. Who doesn't remember the epic sample 'Can't beat the system'? Used again in the 'Fantasy' with the new arrangement will definitely destroy the dancefloor on more than one occasion.

Dillon's fourth LP, 6abotage, captures today's zeitgeist like few others. A work of sore desperation but also reassuring devotion.

Her fourth, and perhaps boldest, album project, 6abotage, marks Dillon's first full-length since 2017's Kind. Described by Dillon herself as "a love letter, a cry for help and a consequence, all in one", 6abotage is the unapologetic manifestation of Dillon's latest artistic excursion with artist and producer Alexis Troy. Together Dillon and Troy have created a lyrically and sonically captivating and genre-bending body of work. The unmistakable soreness of Dillon's voice surrounded by and embedded within Troy's decisive and, at times, almost cinematic production defeat all genre stereotypes. Written, produced and recorded in complete isolation, 6abotage reflects today's zeitgeist. It is sore and desperate but also reassuring and devoted.
6abotage is a successful protest. A successful protest against stereotypes and preconceptions. A protest against excessive suffering. A protest for self-love. A protest for patience and vulnerability. A protest for forgiveness and growth.

Three generous portions of blissful beats on the Electric Shrine imprint, kicking off with the downbeat (in BPM terms) but lively 'Solar Visions' coming on like a dub mix of a lost Chic classic, 'What You Love' more like prime-era John Carpenter remixed by a mischievous Orb and 'Un Amore Supremo' a slow motion (one of the slowest we've ever encountered) reverb-fest, designed for more eccentric chillout rooms. And that's all before the opera singer pitches in.

2022 Repress

The Artist Concurrently Known As Jackmate has been already been indoctrinated into our cult since he signed onto he Pampa bookings roster awhile back. As SoulPhiction he is also co-founder of Philpot, the Stuttgart-based label, home to the majority of his releases over the past 10+ years. Anyway, we get the privilege of stamping the Turkey logo on SoulPhiction's first proper release of 2013, following his remixes for Murat Tepeli and Detroit Swindle. 'When Radio Was Boss' is a tribute to those magical electromagnetic waves that ruled yesteryear. With that prototypical Pampa percussion-rattling and clanking its way into the room-and a warm, round bassline bounce combined with some symphonic froth in the atmosphere, this track definitely demands airplay. On the dancefloor, at least! (And right in the middle of the track, catch the pleasantly jarring shout-out from WBAU, the call sign of the defunct New York radio station that counted members of Public Enemy and hosts of Yo! MTV Raps amongst its staff.) On the flip, the bpm gets cranked down just a bit for 'Maybachswagger"-If the A-side is a tribute to radio, the B has roller-skating on its mind. Starting out spooky with a sampled voice cooing over a slightly detuned bassline, the surprise comes in the final third, when a kawaii disco vibe drops in, seducing you onto the rink for a few laid-back laps.

Nocow ist zurück auf BPitch mit einer facettenreichen EP voller mitreißender Energie und schillerndem Sound. Mit seinen vier großartigen Tracks verschiedenster Stimmungen und Styles wird er den Dancefloor sowohl physisch als auch emotional zum Schwingen bringen.

Limited edition vinyl collection of tracks from Altered Five Blues Band's most popular albums. Includes a new "With Horns" version of the song "Great Minds Drink Alike" which won First Place in the Blues category of the International Songwriting Competition in 2019.

Pumpin South France sound...

With A collab between Uzi and Keja for the opening, creative drops and mental effects.
Then comes a Jarotek and Trizia Moth versus with a Old School inspiraly sound... And a deep drop. tribe is tribe...

The Flip starts with a Keja long 145 BPM tune. Mental Twirler at a sweet tempo... boostable.
Last tune is a superb ragga jungle banger from Uzi. A master piece... Short but wicked !!

Record comes with an Insert and a sticker.

Dancefloor clear sounds, rising up and up and up... Neither happy or dark... pure tekno !
4 of them kick at regular 170 BPM.

BIG trippy tunes super cool in the mix... Bass-kicks are clear and pumpin.

Good !

White Vinyl
Dancefloor clear sounds, rising up and up and up... Neither happy or dark... pure tekno !
4 of them kick at regular 170 BPM.

BIG trippy tunes super cool in the mix... Bass-kicks are clear and pumpin.

Good !

6 face-melting gurners for the 21st Century’s, wilted and jilted generation.

Glasgow’s Lady Neptune follows her New Gorbals Gabber cassette E.P. with her debut vinyl release NOZ. Over the course of 23 bloody fisted minutes, Lady Neptune’s – aka Moema Meade - hyper destructed take on Gabber and Happy Hardcore breaks down the genre tropes before rebuilding them as a new pop music. If 2020’s New Gorbals Gabber showed an artist building their own language from fragments of different genres, 2022’s NOZ goes harder into the cyberpunk-ass future and takes no prisoners. Recorded and mixed at Glasgow’s legendary Green Door Studios and mastered by Rashad Becker, here Lady Neptune evolves into a monster.

With the classic weapons of Dutch Gabber – distorted 909 kick drums, bursts of noise and world-eating Rave-O- Matic hoovering synth riffs, Lady Neptune’s 6 tracks constantly threaten to careen off the speaker into the sweatiest, most gibbering, messy corners of the club. The two years since her debut has seen Meade destroying festival dancefloors, training for the full assault that is NOZ. Live performances have seen foam guns, tequila-pistols, neon stage dancers and a full, maxed-out orgy of fast-as-hell BPM, rave music burning up the cones. The experience reaps rewards from the outset on recorded form here. APOCOLYPS begins with monstrous vocals and the all-consuming kick, pulled back and taut for launch. The arsenal builds; warbling synths and high-pitched synth-strings before dropping into Bald Terror-sized hoovers and stuttering 4/4s. It quickly bleeds into MASTERER, with a looped, pitched up vocal intersecting with the synth riff. The aesthetics might be Happy Hardcore but the dynamic feels like a synthetic, evil Nu Metal-influenced Industrial music. Constantly evolving and twisting with its own natural drama, the drop at 2:15 is pure ecstatic release. fusing Meade’s inclination for pop hooks with the first out-and-out 180BPM (ish, who’s counting?) anthemic melter of the E.P., TELL ME has THE big catchy chorus, used sparingly and sung by Meade with angelic devilishness, coming at you in waves of XTC. It’s a repeater.

It’s then massive fists in the air for the ruthless Side B opener WIT. In the Welsh-Brazilian artist’s adopted home of Glasgow it translates directly as WHAT!? Itt makes sense. g. Sharp, weaponised, rhythmic punishment abounds before OH responds. Pitched up vocals and another mid-frequency synth hook wipes the slate clean. Like the best Gabber, the tension and release dynamic is used to full effect by Meade, with the thunderous low end kick -expertly tweaked in the mastering by Rashad Becker – slipping into the ghostly cavern. Industrialized 4/4 and noise-snares propel onwards to be utterly squashed by that bloody synth, stinging and horribly brilliant. Proving her genius for a ridiculous A-N-T-H-E-M, TIME 2 MAKE U FEEL GOOD closes the 23 minutes of ragged, drugged glory with a festival-slamming chorus built from the wreckage. It’s a song that does that thing we all know and love but can’t put our finger on. Sad, happy, tragedy, ecstasy, joy, horror...There’s big, minor chord changes (yes there’s some CHORDS on this slammer), the kick is submerged in layers of pads and Meade’s actual secret weapon: her vocal and knack for writing a chorus line. In the listener’s mind it’s over before it’s begun, a track destined for the big rewind.

NOZ is a breathless, E-number riddled eternal ecstasy.

Hot on the heels of the sold-out limited ep Was It Ever Real?, The Soft Pink Truth releases a super catchy, sexy contemporary disco banger Is It Going To Get Any Deeper Than This?, Throughout the ten songs of the album, the provocation to go "deeper" prompts promiscuous moves across the genres of disco, minimalism, ambient, and jazz, sliding onto and off of the dancefloor, sweeping higher and lower on the scale of frequencies, engaging both philosophical texts re-set as pop lyrics and wordless glossolalia. Throughout, Is It Going To Get Any Deeper Than This? aims for a kind of psychedelic poolside take on disco, using the steady 120 bpm rhythmic chassis of the music as a launchpad for reverie rather than big room EDM bluster. Sidestepping retro kitsch but paying homage to highly personal interpretations of disco such as Arthur Russell, Don Ray, Dr. Buzzard"s Original Savannah Band, and Mandré, or the jazz-funk of Creed Taylor and CTI Records. Its emphasis on slowly morphing deep house grooves will also appeal to fans of DJ Sprinkles, Moodymann, and Theo Parrish. At once catchy and spacey, poppy and perverse, Is It Going To Get Any Deeper Than This? shows a restless musician trying to square the circle of dance music and meditation, repetition, and change.

Hot on the heels of the sold-out limited ep Was It Ever Real?, The Soft Pink Truth releases a super catchy, sexy contemporary disco banger Is It Going To Get Any Deeper Than This?, Throughout the ten songs of the album, the provocation to go "deeper" prompts promiscuous moves across the genres of disco, minimalism, ambient, and jazz, sliding onto and off of the dancefloor, sweeping higher and lower on the scale of frequencies, engaging both philosophical texts re-set as pop lyrics and wordless glossolalia. Throughout, Is It Going To Get Any Deeper Than This? aims for a kind of psychedelic poolside take on disco, using the steady 120 bpm rhythmic chassis of the music as a launchpad for reverie rather than big room EDM bluster. Sidestepping retro kitsch but paying homage to highly personal interpretations of disco such as Arthur Russell, Don Ray, Dr. Buzzard"s Original Savannah Band, and Mandré, or the jazz-funk of Creed Taylor and CTI Records. Its emphasis on slowly morphing deep house grooves will also appeal to fans of DJ Sprinkles, Moodymann, and Theo Parrish. At once catchy and spacey, poppy and perverse, Is It Going To Get Any Deeper Than This? shows a restless musician trying to square the circle of dance music and meditation, repetition, and change.

Bristol has always been a hotbed of innovative producers within the UK's sound system and rave cul-tures. One of these music makers is without a doubt Lamont, whose massive hit Titanic came out on Loefah's influential Swamp 81 imprint in 2016. With a style sitting in between classic 808-driven electro and instrumental grime, his productions are authentic dancefloor slayers: minimal and effective, yet pro-duced with musical sophistication. Just listen to his drum programming and feel the funk. Lamont's latest 4-track EP on Version is his second release on the label. These are certified bangers, rinsed by the likes of Loefah. All tracks are 130 bpm, sub-heavy and fun to mix - translating the darker side of early dubstep into a unique, contemporary club sound. This one from Lamont and Version is not just deadly DJ ammuni-tion. It is also a testament to the label's longtime bonds with the UK's cutting edge. Out on vinyl and digital.