Cerca:breakdown

Thinking about a fox face may give many warm, fuzzy feelings,
but don’t forget that foxes have teeth.While Milwaukee quartet
Fox Face may not bite one’s face, their new album End Of Man
might just melt it off.
Featuring players drawn from various corners of the Brewtown
music scene, Fox Face came together organically ahead of the
recording sessions for their November 2017 debut album, Spoil
+ Destroy. Main songwriter Lindsay DeGroot (The Olives)
started working on her songs with multi-instrumentalist Lydia
Washechek (Static Eyes). Eventually fellow Olives member
Mary Hickey joined up on bass, and the final piece of the band
was found with the addition of drummer Christopher Capelle
(Midwest Beat, Long Line Riders). Spoil + Destroy was one of
the best garage punk albums of 2017-2018, taking on science
deniers, misogynists and other jerks with songs anchored by
fiery guitar playing and rock-solid ensemble playing.
End Of Man bumps up the furious guitar sound of Spoil +
Destroy a few more notches. It’s not hard rock, per se, but the
album’s sound edges in that direction. And one can tell that Fox
Face has been playing together for several years now, because
these recordings are tight AF. There’s no filler or extraneous
padding; the arrangements and playing make for a cohesive
whole, and lyrically the songs are direct and to the point while
still remaining universal enough to be met on personal terms by
the listener.
End Of Man may not be a party record … at least, once letting
the lyrics filter past the lizard brain enjoyment of the blazing
riffs. But art is not supposed to be all fun and games. Standing
up and speaking truth may not be the easiest path for a band or
its listeners, but there is much to be said for catharthis. Anyone
feeling despair and helplessness about the current political and
societal breakdown should find some common ground to rage
along with these new songs from Fox Face.

Legendary Turkish psych innovators Moğollar grace the Artone Studios in Haarlem for a masterclass in the original Anadolu psych roots, cutting a compendium of their rawest hits and most-wanted psychedelic rock classics – including the J.Dilla-sampled ‘Haliç’te Güneşin Batışı’ – for the latest edition of Night Dreamer’s essential Direct-to-Disc series.

In the beginning, there was Moğollar.

Formed at the end of 1967 with five young musicians, Moğollar were the original Anadolu psych originators. They were the first Turkish pop band who tried to blend the microtonal folklore and traditional instruments of rural Anatolia with Western pop and rock; they were the first Turkish psychedelic band to achieve overseas recognition, winning the prestigious French Grand Prix Du Disque in 1971 after a period in Paris; and they coined the very phrase ‘Anadolu Pop’ with their first album release. They were radical, innovative, and hugely popular, and when the great artists of the Turkish rock revolution appeared on the scene, Moğollar were already there – stars including Barış Manço, Selda, Cem Karaca and Ersen all recorded with them or briefly joined the line-up. Moğollar were and are the undisputed pioneers of the style.

More than fifty years after first forming, Moğollar materialised in the Artone Studios to give a masterclass in fuzzed-out folklore and Turkish psychedelic roots for Night Dreamer’s Direct-to-Disc series – a fitting follow-up to Night Dreamer’s BaBa ZuLa set, coming straight from the group who laid the foundations of the genre.

In 1971, having already released numerous singles, they secured an album deal with French label Guild International du Disques. Travelling to Paris that year, they recorded their first major statement, Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui, a set later released in Turkey as Anadolu Pop. The album won a prestigious French award – the Grand Prix du Disque from the L’Académie Charles Cros, an honour that had been won in the past by Jimi Hendrix, Pink Floyd and Soft Machine. Moğollar, and Anadolu psychedelic pop, had arrived on the international scene.

In 1976, after many more releases and line-up changes, and pressured by an increasingly difficult political situation in Turkey, the group dissolved for seventeen years, and various members dispersing to exile in Paris and Berlin. However, after a petition from their fanbase asked them to reform, they agreed to play a comeback concert in 1993. It was a huge success, and reunited, they went on to record some of their greatest work. Led today by original member Cahit Berkay alongside original bass player Taner Öngür, and joined by Cem Karaca’s son Emrah, Moğollar continue to push their uniquely original brand of fuzz-scorched folk-rock and crackling Anadolu psychedelia forward into a new millennium.

For this Night Dreamer session, Moğollar spent two days in the Artone studios, recording sides A and B on the first day, and C and D on day two. With BaBa ZuLa’s Murat Ertel adding contemporary sonic punch behind the boards, the band revisited their most renowned hits to lay down energised new versions, and dusted off some of the most sought-after cuts from their enormous catalogue. The result is a showcase set by a band that are one of true pioneers in global psychedelic rock, and a masterclass in the true roots of the Anadolu psych sound: fuzzed-out, committed, and straight from the source.

Highlights of the set include:
-‘Haliç’te Güneşin Batışı’, an Anadolu psych classic which was first issued as the b-side to the ‘Ternek’ single in 1970, before being recorded again for the Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui LP in 1971. A tense slab of roughneck psychedelia, the final breakdown of the original recording was sampled by none other than J. Dilla for the ‘Intro’ cut on Welcome To Detroit.
-‘Gel Gel’, a 1974 song with head-nodding tempo change, originally featuring Cem Karaca. It is here voiced by his son Emrah Karaca, now a permanent member of Moğollar.
-‘Çığrık’, a 1972 cut which originally appeared on one of Moğollar’s most coveted singles, is a funky psych-rock workout with an unforgettably riff, a ringing guitar motif, and twist of Led Zeppelin.
-‘Düm Tek’, the title track of the bands second full LP (Düm Tek, 1975), a raw psych screamer, laced with hardcore davul drum patterns.
-‘Bi’Sey Yapmali’, first recorded for the 1996 Dört Renk album, became the anthem of huge street protests that took place in Turkey that year after an investigation uncovered a huge network of state, police and mafia corruption.
-‘Dinleyiverin Gari’, a hit from the 1994 come-back album Moğollar 94, addresses a notorious corruption scandal of the era.

Casbah 73 makes his Glitterbox Recordings debut with an insatiably funky slice of disco soul ‘Love Saves The Day’. Driven by a soul-filled vocal hook from Angela Goode, this timeless jam’s authenticity lies in its rawness, sounding like it’s been ripped straight from a 1970s dancefloor while maintaining a freshness for today’s listeners. This special 12” delivery includes two stellar re-works, opening with master of the disco edit Danny Krivit’s funk-fuelled mix that smacks with New York City flare, bubbling keys and slap bass breakdowns to boot. The snapping Percussion Jam closes out the A-Side, before Chicago’s Rahaan takes control on the flip, taking the vintage sounding original and transforming it into a pumping, modern disco cut. Finally Casbah 73’s original rounds off the 12”, completing this package that is a must have for any discerning disco DJ.

*repress*

Justin Cudmore returns to the Phonica White shelves with four new tracks, and his long-awaited first full EP since 2017's "Forget It" for The Bunker New York. With the dancefloor seeming far outside our reach right now, 'Train Dance' transports us back to a simpler time lost in the mix.

Across the disc, Cudmore reflects on the sounds and scenes closest to his heart and record bag, flexing his knack for crafting catchy hooks and the kind of ear-worm melodies that helped cement his status as one of house & techno's fast-rising stars. A1 "Train Dance" is his ode to the urban symphony of train cars whirling past his apartment in Brooklyn, with eight minutes of swingy, jacking house built for a sunny afternoon set across the pond at Panorama Bar.

"Club Fetish" shifts to a more introspective, heads-down vibe crafted instead with a dark and sweaty basement in mind. A touch of psych à la classic John Tejada, Cudmore's subtle, squelchy synths rub shoulders with cerebral drums and floating basslines.

The B-side nods to Cudmore's acclaimed acid sound for two deep slow rollers. "Expectation Game" and its no-nonsense 303s chug through a couple of understated breakdowns, while "Realize" was written with a Detroit outdoor patio in mind, with a sleazy acid bassline and cut up vocal groans sounding like Cudmore riffing on a late-night Moodymann jam.

Recorded during a productive time of new beginnings and positive headspace, ‘Train Dance’ comes out during a strange and unclear present for Cudmore and many of his contemporaries in the scene. However given it all, Justin remains excited to share new music and sounds, and hopes to return to the dance floor with everyone again as soon as safely possible.

Artwork as always is supplied by the talented Pedro Carvalho de Almeida

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

With music from a mix of talented producers, ISSUES is about to release their first ever VA vinyl only limited edition compilation. Each quarter there will be a VA which will contain the best selling tracks of each release and it will also be a way to showcase the sound of the label and promote the artists.

On the A side artists there is Joseph Edmund “It’s ON” track which has Josephs trademark sound with trippy breakdowns, strong buildups and heavy basslines and also Spanish producer Alvaro Am “Activate” reflecting his new renovate sound, offering an infectious vocal hook and a heavy bassline.

Side B includes Kabbina’s “Amnesia” which effectively reflects the trio’s unique style. Using an unmistakable synth shot, prolific vocal and a wobbly bass line that complete the dynamic track and Campbell Fryer’s “Moody” which is a unique groovy tech house track that has appeared in many sets including Michael Bibi, Detlef, Steve Lawler to name a few.

Previously Unreleased material recorded in 1979 at Allen Toussaint's legendary Sea-Saint Recording Studio in New Orleans, LA.

Freaky With You is a Six-and-a-half minute Psychedelic Disco Funk excursion taking you on a wild mojo trip with a four on the floor backbeat and extended conga breakdown peppered with some New Orleans Voodoo that reaches for the Bondye Celestial Heavens.

On the B-Side, Welcome To My World is a Modern Soul Steppers masterpiece. A version was also recorded by Joe Chopper for the Lanor Records label.

James Dumaine remembers the studio session well. After having oral surgery that morning, a grotesque, theatre of the absurd incident followed causing him to bleed onto the microphone as he was singing. That combined with the miscommunication with the audio engineer to watch the volume levels on his new synthesizer: The Engineer decided not to take heed to the warning… Half way into the recording all the band could see from the other side of the glass were heads frantically rushing to the mixing board. The synthesizer levels had caused the monitors in the control room to blow up. Superior Elevation wasn't invited back to record at Sea-Saint. 40 years later, with all that chaos, hoodoo and gris-gris enveloped into the magnetic tape, it magically survived the catastrophic 2005 floods during Hurricane Katrina and ended up in the hands of Mike Nishita along with many other Reel to Reel Tapes of Allen Toussaints' masters of The Meters albums he produced and recorded. It's available now, preserved with Family Groove Records.

Mariah Careys 30-jähriges Karrierejubiläum geht weiter! Nach der Veröffentlichung der Doppel-CD "The Rarities" am 2. Oktober erscheinen am 6. November ihre Alben "Emotions", "Music Box", "MTV Unplugged EP" (erstmals auf Vinyl), "Daydream", "Butterfly" und "Rainbow" - neu gemastert - auf schwarzem Vinyl

Repress!

For its second release, Radiant Love sticks to family values. Paying homage to the party and label’s co-director and resident Byron Yeates, Byron’s Theme comes from the likes of Vani-T (one half of Berlin’s forceful, femme party Climax) and D. Tiffany (who threw down a ruthless remix on the label’s first release by Fio Fa). Together, they take the name of Pillow Queen – a semi-pejorative term for the kind of sub who expects to receive pleasure like a well catches rainwater. No reciprocation, just a reign of sexual passivity.


Their tracks, however, give plenty. “Byron’s Theme” presents a rich palette in its 2-minute buildup: a dry trance hook, high-end synths buzzing and wavering, pitch-shifted voice samples and a pan-flute ran through with tremolo. Throbbing, the 303 bassline picks up after a breakdown at the 4-minute mark, and only then does one realise the song’s still building. There’s still room in the last 40 seconds for some percussion modeled on a breakbeat loop – which is to say, the track is incredibly cheeky and hard-hitting – all that I would hope for in any lover.

While the EP’s first track feels wide, rangy, “Estrel Nights” opens the EP’s B-side in a much closer, tighter space. The build is percussive: bongo taps, claps, cowbell; then a hi-hat snaps things into shape, and in lopes the kick drum. And rhythm remains the central player here. It’s not until 3 minutes in that the percussion finds a melodic backdrop – a dreamy, detuned pad, choral, like a moan.

Ex-Terrestrial’s remix of “Byron’s Theme” repositions some of the elements and ratchets up the tempo of the original, but maintains its respiration: the energy and erotics flow into a different structure, closer to traditional trance, with sharp hi-hats and loopy arpeggios that phase in and out of syncopation, measure to measure. Diagonal, we incline to a climax that dizzily plateaus at 6 minutes, de-escalates and breaks down over the next 2, glows until it’s just a kick drum, slower, slower still; we’re catching our breath.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Given his decades of work behind the scenes, it’s no surprise that it took until 1982 for Caiphus to get around to putting out the first album of his own. But all that experience shows. Listen To The Wind is a deeply impressive synthesis of early 80s US production and instrumentation together with his traditional South African musical roots.

It’s stylistically diverse but the ingredients are never diluted. There are elements of boogie, soul, funk and jazz, all shot through with pan-African flavour, and moving effortlessly from uptempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line up of session musicians including Nathan East, Michael Stanton, Sonny Burke and Paulinho DaCosta. And of course, there are Letta’s show-stopping vocals. To our ears, Listen To The Wind is just one big party, and lord knows we need that more than ever right now.

Opener “Angelina” is one of Caiphus’s most beloved tracks at Be With HQ. It’s a breezy, feel-good SA boogie-funk classic. Harmonic and horn heavy, it sounds as fresh today as it would’ve done in the early 80s. If this one doesn’t make you move, you may need your pulse taking. The drum breakdown alone, a little over halfway through, is sensational.

It’s followed by the gentle reggae lilt of “Play With Fire”. A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers.

Closing out side one, the spectacular “Umoya” is driven by triumphant horns and slick bass. With its proto-Graceland vibes, we reckon Paul Simon must’ve been listening. Hard. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Yes, it’s as good as anything on Letta’s canonical In The Music… The Village Never Ends. A wide-eyed wonder, made for unity and togetherness, it’s all infectious, smiling faces for nearly nine minutes. But never mind nine, we could party to this for ninety minutes and “Umoya” would leave us re-energised for ninety more.

Elegantly firing up side two is perhaps the album’s best known track. “Without You” is a heavenly slice of modern soul, an end-of-nighter to end them all. Smooth strutting, disco-fied funk with that unmistakably South African sound, it’s just sublime, with those lyrics that keep coming back to smiling faces and community, “without You the sun won’t shine”. Big with the likes of Rush Hour’s Antal, this is aural perfection.

“Ziph’inkomo” is a soul-soothing, swooning epic. Gently building throughout, its final few minutes are genuinely stirring as the backing vocals and instrumentation swell. Jaw-dropping. The irresistible groove of frantic, percussive workout “Gumba Boogie” closes out what must surely be one of the greatest artistic statements of the 1980s. If his friend Quincy wasn’t feverishly taking notes for Thriller, then you could’ve fooled us.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The cover art, as breezy as the music, has been faithfully restored. All that’s missing is you.

Led by French B3 Hammond maestro Guillaume Metenier and featuring an all-star lineup of musicians from the extended Mocambo fam, Pigalle Connection connect the dots between instrumental funk, b-boy breaks and cinematic soundscapes. After their celebrated and battle proven 45 "Paris Breakdown", this fantasy funk supergroup is finally back with a new double delight on 7 inch wax.

"Casino & Church" / "Vendetta James" is a nod to Peter Thomas and Ennio Morricone, two massively influential score composers who both sadly passed away in 2020. A-side "Casino & Church" is a blistering blend of afro-boogie, breakbeat funk, blaxploitation and eurocinema, led by hypnotic percussion and an infectious guitar. Flip to the B-side for "Vendetta James", where Mediterranean funk meets Italo Western and b-boy breaks in a sequence of hazy atmospheres and alluring moods.

Recorded live to 8-track tape with vintage equipment and instruments, both sides of Pigalle Connection's new 45 showcase the band's unique sound and deep appreciation for great film scores and heavy funk.

Presenting a collection of stone-cold classic breakbeats and b-boy jams from the sunkissed vaults of Miami's legendary TK Disco label!

NYC in the late 70's and early 80's saw a nascent street subculture fully evolve, a movement with it's own language, art, aesthetics, dances, fashion and way of living.

What would become what is now globally known as 'hip-hop' was in its infancy, with it's own legends and history being forged on an almost daily basis across the city's Black and Hispanic neighbourhoods. Music was central to hip-hop, the DJ was king and at the hands of people like Kool Herc, Grandmaster Flash, Grandmaster Flowers, Mean Gene, Jazzy Jay, Afrika Bambaataa, Charlie Chase and numerous other groundbreaking DJ's of the era, music took on a whole new meaning that would reverberate through popular culture for the rest of time.

The breaks - minute sections or breakdowns of a record where we get to the unadulterated groove and the band on the record cut loose - is what it was all about! Unlike the discotheque DJ's who favoured the long mixes and blends in their club scenarios, hip-hop DJ's were amassing huge collections of records that had these magical sections on them, often x 2 copies of each, so that they could elongate the best part of the record ad infinitum by cutting them up live - all killer no filler! These special on the fly mixes and edits were then unleashed in the local parks of their neighbourhoods, on gargantuan DIY sound systems for all of their friends and neighbours to party on down until the wee small hours. These breakbeat segments also gave the MC's space to address the gathered masses without their voices colliding with lavish string arrangements or vocals underneath. A clear, concise, stripped back slab of funk on which to put forth their ideas, feelings and rhymes for all to enjoy.

Collected here are some of those most infamous breakbeats, all from the TK vaults. These records were studied by these young DJ's, coveted, covered up, hunted down, whispered about in darkened corners by those who needed and obsessed over the freshest of beats. There's a good chance you will have heard these records in some form or another as they have been covered, sampled, recreated and spun in clubs across the galaxy for over 4 decades. These are the very building blocks upon which popular culture and club music have been built, and here they are all in one place for your listening enjoyment!

Released with love and respect by: Above Board and TK Disco, Miami FL. 2020.

Emma-Jean Thackray, an outstanding figure in the UK jazz scene, releases Um Yang, her long-dreamed project dedicated to the Taoist philosophy of duality and harmony. Ahighly ambitious and personal record that sees Thackray leading a septet featuring
Soweto Kinch and Steam Down’s Wonky Logic, recorded straight to vinyl. An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brewera Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record
label, Movementt (in association with Warp). Championed by Gilles Peterson, Theo Parrish and Jamie Cullum, Thackray has firmly cemented her place among a new wave of exciting young
musicians, collaborating with Makaya McCraven, Junius Paul and Angel Bat Dawid, and still finds time to host her monthly radio show on Worldwide FM. Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals,
Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.

vinyl only / 180 grams

Finishing off the initial "series" of Krab's vinyl-only records in style, KRB003 centres around 3 signature cuts from German duo Cedric Dekowski & Felix Reifenberg and a stellar remix from Yamen & Eda. The EP divulges into the multi-genre capabilities and eclectic nature of the HardWorkSoftDrink label owners, as there are seamless transition between genres, modular synths and all things in between are highlighted throughout the label's latest record.

Starting off with a slow burner, Act 1 is a hypnotic listen, formed around strung out sounds, glitchy breakdowns and a captivating overlaying melody. Laus highlights the pairs unique ability to shift genres seamlessly as they deliver a cut full of heavy hitting acid and emotion heavy synths suitable for any dance floor.

Internet dial up appears the theme throughout the B-side, as Feelsliker delivers a fast paced minimal roller that is stacked to the brim with bleeps, bloops and modular madness. Finishing off the record is a remix from French Duo Yamen & Eda, a pair of artists that boast a distinguished taste for electronic music. Dance floor ready, B2 is constructed around a heavy hitting bass line and an assembly of inimitable modular synths.

Amnesia Scanner announces Tearless, the Berlin-based duo’s second LP. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw, the staggering scale of political recalibration and the worldwide climate crisis to come blows open old norms. This album reflects what it feels to experience Earth at a time when collapse is emerging as the prevailing narrative.


The musical scope of the record is expansive, with guest vocalists—the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA—descending into a vast uncanny valley of sound. Tearless follows the 2014 AS Live [][] mixtape, 2015 audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN).



“There’s a looming sense of radical change,” they note, connecting the present to a fin de siecle horror and curiosity regarding what new world is being ushered in. Someone called Tearless a “breakup album with the planet.” To which Amnesia Scanner responds, on the LP’s closing track: “Youwill be fine, if we can help you lose your mind.”


With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Listening through: Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track(the titular, Lalita-helmed “Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. At the album’s midpoint, Lalita returns for the beautiful, operatic breakdown of “AS Acá” (released as a single in 2019), before “Call of the Center” guides listeners through three club ready tracks—the grain-processed dembow of “AS Too Late” and “AS Going” with LYZZA, and then the ambientheadbanger “AS Labyrinth.” Closing “Tearless” is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.

yellow marbled vinyl / vinyl only

After a long wait we are happy to finally share the next release on Sleepless Musik and welcome Canarian artist Moises to our family!

A1. Circular
The title track is a dancefloor bomb, bursting with groove. You'll find it aptly placed on the A side, along with a remix from Sakro. The deep, rolling bassline of Circular takes similar form to previous Moises releases, a fast pace dance between low and high notes. Eery breakdowns signalled by spiralling synths accentuate the mysterious melody that dominates the track, before rave like chords creep to the forefront. Then with a cheeky hi-hat flick, the bass is back. The energy emanating from this one is enough to have a crowd going wild at peak-time.

A2. Circular (Sakro Remix)
The remix is a little more subtle, yet equally as suited for late into the night. The percussion overtakes this one with a deeper bassline. It becomes clouded with minimalistic growling and an echoing vocal, injecting the dreary trip we've got quite used to hearing in Sakro's productions.

B1. Homecoming
Flip the record over and the four-tracker becomes complete with two more of Moises' own productions, both of which retain that signature groove. Homecoming pulsates repetitive rhythms laced with chattering patter and choppy voice. A sweet layer to house the jabbing synth that follows for another dance worthy beat.

B2. Inside Out
Inside Out completes the set, representing a different approach. This feel good finale ditches the darkness and is instead full of dreamy high notes and percussive swing, making it the uplifting one of the bunch. It's fun, playful and full of life, perfect for celebrating those moments at the afters when the sun is up and so are the people.

Introducing new sounds into the continuing MANHIGH project with Azteka Tekno, emerging Moscow producer Ober Dada finds rare power with his refined combinations of EBM and techno. Fusing concepts from Dadaist, Futurist, and Suprematist art with vocal guests from the Krasnodar Opera on ‘Tomorrow No’ and ‘Erdefalt’, the sophistication of his vision is immediately apparent in the arrangements and structures. With lyrics sourced from World War I-era apocalyptic poetry and a forthcoming opera from the artist, these two efforts show uncommon complexity in their running times, with layers of vocals and melodies trading off in sections with punishing rhythms that move between lashing breakbeats and straighter 4/4 sections. The comparably straightforward title track prominently features the producer’s own snarling vocal refrain, repeated through heavy distortion over pounding kicks and wayward electronics, while a contrasting melodic sequence enters from the breakdown for needed relief. Again featuring Ober Dada’s voice, ‘Hey’ foregrounds its wandering keyboard line for a comparatively restrained but still intense study on the styles found across the record.

Since making his debut as 96 Back in 2018, Evan Majumdar-Swift has become one of underground electronic music's genuine rising stars. To date, the Sheffield-born producer has released two acclaimed albums for labels such as Hypercolour and CPU as well as a string of singles and collaborations. His EP for Happy Skull showcases his growing versatility as a producer and marks the labels return following a brief hiatus.

"143 Connections", is a rapidly unfurling club cut that sees him pepper a weighty 140 rhythm track with crispy arpeggios and rolling acid motifs . The track increases in intensity as it progresses, with Rob Gordon's immaculate mastering work bringing out the cut's inherent weight, sharpness and subtle Bleep influences.

Elsewhere across the EP, 96 Back takes the opportunity to expand his trademark sound a little further. "Set Science" is a colourful slab of electro machine funk, full of fizzing sci-fi melodies and brain dance era synth work while "In The Trunk, Belting Down The Highway" drops the tempo but turns the intensity up to red with a slow motion chunk of mutant electronica complete with misty eyed breakdown.

Essential comp of rare funk 45’s from the 70’s – original 1994 LP’s in pic sleeve

The eight damaging new movements on XIBALBA’s Años En Infierno culminate into the band’s most brutalizing material to date, with more death metal energy than ever fueling the album, with their trademarks breakdown savagery fully on display in every track.


The LP was produced by Arthur Rizk (Cro-Mags Power Trip, Inquisition) and completed with artwork by longtime collaborator Dan Seagrave (Dismember, Entombed, Suffocation).

For the past thirteen years, Xibalba has been dedicated to carving a sound which combines unadulterated aggression booming out of the vocals, an ultra-heavy low-end frequency, colossal death metal riffs, brutal hardcore breakdowns, and a trademark groove now synonymous with the group.

Showing no mercy and keeping their cultural message intact with their fourth full-length, Años En Infierno takes these conventions and finds a new way of expression that the band defines as, “more harsh, brutal, and creative in a metaphorical sense.''

Kaluki brand co-owner Lee Spence aka Pirate Copy has forged a reputation in the dance music industry only a few can boast. Hailing from Manchester, the DJ / Producer & promoter has been responsible for some of the most legendary parties ever held in the city spanning the last 15 years. As a DJ he has spun in all 4 corners of the globe and has a trophy cabinet full of killer releases on labels such as Sola, Solid Grooves, Elrow and of course his own Kaluki Muzik.

For "PCB001", Spence delivers something special, dropping the exclusive to vinyl DJ tool that he’s been spinning at every show for the past 6 months to rapturous success. Utilising Sister Sledge’s “We Are Family” sample to great effect he delivers a modern-day rework of explosive proportions. Looping up that infamous guitar riff behind a stomping beat, adding hands in the air breakdowns, vocals screams and sultry strings it’s sure to ignite any dancefloor it’s put before. Coupled with the original, Spence also offers up the Dub Mix and Loop Tool to give all manner of options to unleash.

As we travel further along the murky 2020 time-continuum we are pleased to deliver the next release for Pure Space Recordings. This time from one of Melbourne’s most acclaimed producers, Rings Around Saturn.

Rings Around Saturn delivers us with two club focussed tracks that skilfully toe the line between electro and bass music.

On the A-sde you will find ‘Grip’, a heavy hitter that’s weight comes from the deep sub-rhythms and hefty drum programming. The melodic, acid-infused arpeggios that fill the tracks body seemingly pull you further and further off the ground until finally the suspension is released through a glistening breakdown.

On the flip you will find ‘Subterranean Electro’, a track titled aptly to describe its heady electroism. Here deep bass is met with skittering pads, and tension fuelled melodies whilst a constant rhythm that feeds the tracks subterranean ecosystem. The gritty melody is fast and jittery keeping you on your toes whilst you complete your journey.

A1 was first played at Inner Varnika Festival 2019. B1 was included in Andy Garvey’s RA Podcast.

A - Raise & Sgt. Risk - The Shining Wall

A slowed down tribute to the dichotomy of mellow/heavy in mid 90's Jungle/Drum n' Bass, "The Shining Wall" begins with eery pads and a forlorn siren call, gently driven along by a subtle amen groove. Midway through, things turn more aggressive with distorted break switchups and a smattering of mentasm for good measure, before coming full circle and leaving you with a warm but somewhat uncertain end.

B - Sgt. Risk - Weaponized Soul

The flip is a more ominous affair, inspired by the short transition period ca. '96, just before techstep became a defined term. "Weaponized Soul" sets the mood with foreboding pads, until it drops into a relentless barrage of industrial beats and a cavernous sub. In the midway breakdown everything drops away, clearing the stage for a monstrous, swarmlike synthriff.

Both of these tracks where never meant to be "conceptual tributes", but just ended up that way.
A is fairly new, while B is the umpteenth version of a ten year old tune. Big up the Dolphin Man for convincing us to put them out together.

yellow & red mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

blue & purple mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

Pitto is not one to flood the scene with new music considering he’s only released two ep’s in the last three years. He takes the time to let ideas evolve and it’s clearly noticeable on last year’s EP on ‘Something Happening Somewhere’ sublabel ‘Ooshaa’, where his feel for an almost poppy hook is perfectly combined with his love for darker electronics. On the ‘Baila baila EP’ –his return to Heist after his last ep in 2018- he explores this path further. The EP is filled with live percussion, a dark and rolling acid line, chopped beats and catchy piano riffs. The three originals are accompanied by a remix courtesy of Pete Herbert that has ‘summer’ written all over it.

Opening track ‘Sammie’ has a beautiful sense of melancholy to it, where an emotional piano riff is combined with some 80’s tinged vocals and loads of live percussive elements for a smile inducing experience.

‘Discko’ takes a darker approach with a deep and ‘dubby’ low end and a guitar riff that wouldn’t be out of place on a Caribou track. The horn section and synth lead give it a real crossover appeal and it’s the kind of track you imagine working just as well on a summer festival as in a dark basement.

On the flip, there’s the title track ‘Baila’, a proto inspired acid stomper with a nice wink to early 90’s dance music vocals. An acid line gives the track its backbone, but it’s the combination of Pitto’s chords and instrumentation that give this track it’s unique edge.

The EP finishes off with Pete Herbert’s remix of ‘Sammie’. Pete’s version has that full-on summer appeal with his recognizable style of modern day island disco. He adds a bit of drama to the track with some big breakdowns, changeovers in the piano riff and turns the Balearic vibe up a notch with an added dreamy solo.

We’re happy to have Pitto back on Heist and this unique and diverse EP is one we hope will create a lot of smiles on the dance floor in the coming months.

Yours Sincerely,
Lars & Maarten

Just act like it didn’t happen…
Reznik & Mikesh crack open a fine vintage bottle of conspiracy with the scorching truth bomb ‘The Moon
Landing Was A Hoax’. Following their remix of Telepopmusik last year, the freshly-formed duo of
Keinemusik affiliates deliver such an acid weapon Justin Strauss insisted they release it after it caused
total Panorama Bar meltdown for him.
In case you missed the inaugural edit, ‘The Moon Landing Was A Hoax’ takes off with pure 303 bounces
before sharp vocal cuts pepper the mix leading to a heaven-opening breakdown. Total euphoria; it’s so
powerful it totally misses the lunar landscape and spins us back around our own planet faster and faster
with every emphatic layer. Reznik & Mikesh’s ‘Area 51 Infinite Mix’ adds three more minutes of feels,
creating this immense drama that sits somewhere between Chemical Brothers and Two Lone
Swordsmen.
It’s backed by a giant leap of a remix by Justin Strauss himself. Teaming up with Throne of Blood’s Max
Pask, they take it up through the gears, ramping the rolling acid tension until the last two minutes pays
out the euphoria jolt we’re waiting for. File under rocket-fuel.
There are no small steps elsewhere on this trip either; ‘The Nostromo Swerve’ goes intergalactic with
such tense, epic acid techno thunder it could dodge entire black holes while ‘Kiss My Axe’ goes all-out
Stingray-style electro with its gravity-defying breakbeat swing and sweeping layers of melancholy
synths. Total celestial immersion: in space, no one can hear you scream, dream or even make up
hoaxes… Happy landings.

The Allergies are back with a new single A-side, 'Felony' – A storming soul-sensation, dripping with bittersweet emotion and driving, late-night grooves. It marks a return to that classic Allergies sound, full of dusty sampled beats, toughened up with punchy drums and re-worked lyrical loops. A dancefloor sure shot.

On the flip is Rile 'Em Up', a Latin funk bomb that showcases something of a new chapter for The Allergies. As the new album will testify, the duo have swelled their ranks to take in a full touring band, bringing in rapper Andy Cooper, soul diva Marietta Smith, and sax don Mr. Woodnote.

'Rile 'Em Up' represents some of that new live intensity, with its infectious boogaloo samples, party-starting chorus, and club-friendly breakdowns. It's sunshine in a single. And if it's a clue at the new direction The Allergies are taking us in, we like it.

On the flip is Rile 'Em Up', a Latin funk bomb that showcases something of a new chapter for The Allergies. As the new album will testify, the duo have swelled their ranks to take in a full touring band, bringing in rapper Andy Cooper, soul diva Marietta Smith, and sax don Mr. Woodnote.

'Rile 'Em Up' represents some of that new live intensity, with its infectious boogaloo samples, party-starting chorus, and club-friendly breakdowns. It's sunshine in a single. And if it's a clue at the new direction The Allergies are taking us in, we like it!

Bastard Jazz is proud to present the sophmore solo album by one of the gems of the New Zealand underground soul scene, Isaac Aesili. Woven through electronic soul, with threads of jazz, funk, R&B and house music, Isaac's 'Hidden Truths' is the stylistic unification of all his previous projects (Karl Marx, Funkommunity, Sorceress) into a dazzling and diverse body of work. Three years in the making, its depth is clear from the first listen, and is peppered with some of New Zealand's finest soul and jazz musical talent, including two stunning female feature vocalists from New Zealand; Ladi6 and Rachel Fraser.

The album opens with an ominous instrumental 'Mirror' setting a dark a tone for the album the start, shimmering with shades of Dilla swing snapping over metallic chords and a graceful trumpet solo that enters midway through. Wild feat. Ladi6' is a heavy downbeat future soul joint with stratospheric synths layered over driving beats that build alongside the elegant vocal weavings of New Zealand's first lady of soul, Ladi6, while 'Player' sees Isaac's unique vocals tell a tale of dangerous seduction within a synth funk-driven dancehall cum house music that feels like the Gap Band on a tropical vacation. 'Jungles' is a deep, native and ocean-like soundscape that begins with syncopated synths and beats that collide dramatically into a frantic, sweeping synth outro, followed up by'Realms' , an intricately crafted song that has sonic elements from techno-house that are other-worldly accompanied by live drums that flip after the breakdown into a swinging conclusion of the album's first half.

'Run Every Way' is an epic percussion-driven electronic blues that begins with a vocal chorus from Isaac that could just as easily be interpreted lyrically as a warning about climate change as it could an expression of the inner-self, while "Refugee" is also a heavily percussion orientated joint that fuses romantic classical strings with otherworldly synth stabs and Isaac's haunting vocals moving climactically into a tender coda conclusion. "Rain Gods" feat. Rachel Fraser is a heavenly pathway into Rachel's luxurious vocals with clever lyrics merging the soaring synths and looped bassline into a short yet memorable chorus'and 'Steps' is classic Isaac Aesili production including deep Rhodes chord changes, a knocking beat with layers of percussion, synths and horns providing a warm emotive accompaniment to Isaac's vocals. 'Last Minute' is a simple yet sophisticated jewel of space and time that concludes the vocal tracks of the album in a proper soulful style, and 'Maureen' rounds out the album as an expressive instrumental outrolude that features Isaac's trumpet.

Isaac Aesili is an Internationally acclaimed solo artist and the producer and creative force behind Funkommunity, Sorceress and Karlmarx. Isaac's original productions have been supported internationally by DJs such as Gilles Peterson (BBC Radio 6 Music), Benji B (BBC 1), and Lefto (Belgium, Worldwide FM). His trumpet playing features on many collaborations including 'Layer' by Julien Dyne (Wonderful Noise/BBE) and 'Midnight in Peckham' by Chaos in the CBD (Rhythm Section). A world-renowned musician on both trumpet and percussion, Isaac is a member of the Lord Echo band. His music fuses Soul, Funk, Jazz, Afro and Latin styles with R&B, Hip Hop and Electronic music. Isaac's much anticipated sophomore solo album "Hidden Truths" is out on Bastard Jazz (NYC) in 2020.

In Ghana "to chop" is to eat, so the phrase No Funk No Chop quite simply means; deliver afro funk and disco bombs, or no one will eat today. With this in mind we jump on the bus to begin our journey. We find our man Grégoire Lawani in fine form with one of the greatest party starters "Africa Land of Soul". Brethren Tany Welck tells the world that he is indeed a" Sexy Man". Peter Mukoko "Esimo Esimo" delivers the breakdown to end all breakdowns. Django Strong supplies us with his super slick "Hoo Dou Hoo Mine". Jide Obi "Give's It Everything he has got", just listen to that bass! Fosto transports us with a synth laden boogie portraying his vision of Africa, K3 Band give us the "Feeling" and we reach our destination ending with Tchamy Patterson's "Camerounaise Children". So, let's eat!!

We hope you enjoyed your trip!

Welcoming the highly anticipated record label from the Reculture team following 2 years of successful London events. Reculture founder Hardt Antoine sets the tone with a 3 track instrumental EP.
The record holds 3 separate grooves and colours linked together by their analogue sound palate and grooving flow.

"The One" was written as Antoine's personal 'handover' track . It begins heavy groove with a powerful backbeat and electronic synths. Following the breakdown the sounds evolve into heavier patterns creating a special moment to let the dancefloor know - they are here to experience something memorable.

Ambre Noir is a sophisticated record with a breakbeat groove, evolving melodic touch. The name is inspired by the dark yet warming colours of the track. Redux's dark, modulated baseline hold in the listener while the progressive trip above takes them to another unique environment - a powerful weapon for a longer DJ set.

New year, new you, new crew! Another rising star from France, Marina Trench, joins the WOLF Music family, following up an inaugural EP on DJ Deep's highly acclaimed Deeply Rooted with this accomplished and diverse four tracker of house goodness.

Absorbed by house music from an early age Marina Trench is already proving herself to be a humble, yet highly talented, force to be reckoned with. Waterside EP is case in point. The title track is summertime ecstasy through and through. Undeniably catchy and packed with a club-ready punch, Trench sets off at pace, revolving the track around a pinging techy bassline as layers of percussion, echoing pads and delicate vocal refrains from Marina herself glide on through. Peak time, earworm business that bangs.

Get up, ‘Get In’. Moving through the downright ethereal to some tough, dancefloor darkness. Sweeping pads and glitching arps ease you in before the breakdown leads to an unleashing of brooding bass chords and reverberating top end counterparts that marry with a mean acid bassline. Tough, tactile and firmly focused on the club.

On the flip, ‘Train Call’ is a chopped jazzy deep house roller. Heavyweight piano stabs intertwine with deft twinkles as crisp hats dance around thumping kicks before ‘Straight’ eases you off into the depths of the night. A sumptuous little slice of deepness - meditative, trance-like calls from the ocean and pensive pianos provide a perfect soundtrack for the early hours.

Paella Hair Sex is the beginning of a new chapter in Alexis Raphael’s musical story. The first two EPs will be from the label boss himself, kicking off with ‘Digital Music Almost Killed Me EP’. Then attention turns to new artists joining the PHS family - please email demos to paellahairsex

Alexis came to prominence in 2011 with his seminal track ‘Spaceship’ and followed with a series of lush, sexy and warm house records that gained universal praise and put Alexis’ sound all around the world with fans from Australia to Peru. As the music and scene evolved, so too did Alexis’ sound becoming somewhat harder whilst still retaining some of his signature elements; references to acid house, hardcore and jungle, deep pads and sweet vocals.

However, by 2016, Alexis had become somewhat disconnected with the path of the music and scene he was involved in. It took a long time to put together what was wrong, but what followed was a three year path to this point now of launching PHS.

A return to and playing vinyl at the end of 2016 was the first step to finding his love again and feeling good about the music. This was followed by a halt to gigs where the music expected from him was different from what he wanted to play and a feeling of disconnect from the crowd. Then came the gradual move away from constant social media output.

The final and most important part of this transition was going back to making music simply without any thought of where it can fit or who can play it, or what label it will go into. In essence this is a return to how Alexis started - making music solely from the feeling inside.

And so PHS returns to some of that more sexy, emotive house music that Alexis was originally known for, but with a fresh sound for the new decade.

Paella Hair Sex is set to be a representation of the music Alexis loves, both his own and other artists.

The first EP: PHS001 – Digital Music Nearly Killed Me kicks off with the main room groover ‘Respect & Belief’ . A jazz-infused bass line underpins chunky rolling beats, punctuated with vocal samples calling for unity and love and laden with floating classical pianos and warm pads. A definite party banger !
.
The second A side track “Sex Appeal” references back to Alexis’ original signature House sound. An emotive and sexy track bound to get temperatures rising on the dance floor .

Flip to the B-side and find the after party brother of Respect & Belief - ‘Liberty’. A seminal minute long speech paves the way to the single breakdown moment of the track when lush Jupiter-8 chords make way for an epic moment as the beats drop back in. A unique piece of minimalistic House music for the after hours .

The bonus track, House of Chorge. ends the EP with a bang. An upbeat cheeky groove that stays in your head long after the turntable stops spinning. But who is Chorge.?

HRDvsion – Stroke implies different things. Different strokes for different folks. Not to spoil, but there is a Luke vs. Darth dynamic here. So let’s just keep it at that. Bring it on Death Star!

Joannes – Ow_kay, Joannes got that Wagwan thang going on. Rolling thunder under the hood, sprinkled with some breaks and reverbed. Yeah, it’s that hands in the air moment. Package includes a big phat breakdown.

Orson Wells – If War of the Worlds had a contemporaneous soundtrack, this would be on it. Electro-breaks, tunnel vision, planets colliding. Do not fear us, we come in peace.

Rydim (Part of ItaloJohnson Trio) – This got that nasty boompty. Think of Derrick Carter remixing Gemini remixing Derrick May. Can I have a bump, to straighten things out? Mit ein kleines bisschen acid?

"Marble Grounds" is the first release on new Seattle vinyl imprint Rhizome (US). Local live duo JamRat provides the two original tracks "Marble Grounds" and "Neurocare Locale" each accompanied by a remix from Glueped, consisting of Cristi Tudorache aka Melodie and Mihai Mihalcea (Teluric).

"Marble Grounds" on Side A drifts through singing synths and steady percussion, the melody gently arising and humming to the listener before evaporating as the breakdown arrives.

Glueped's first remix of the EP is a cosmically-charged reinterpretation of "Marble Grounds", a dreamlike rhythm providing a quicker pace into lofty synths and a guiding drum.

"Neurocare Locale" is a harmonious hymn fizzing with auspicious vocals joined by a playful synth, provoking ephemeral reflections deep within.

A deep kick and baseline actualize together and announce a dancefloor-ready dive, uncovering a starry remix of "Neurocare Locale", concluding Side B.

Disco Bits are back with a couple of late night dancefloor sureshots from top notch Japanese producer Kazahaya!

Side A - High Enough
Kazahaya welds together Ain't No Mountain with Let Me Down Easy for an intense high tempo disco workout.
The track builds and builds with a killer vocal from a soul legend. There is even a heavy drums breakdown towards the end of the track. Mashups don't get better than this.

Side B - Forever
A midtempo soul workout on the flip, perfect end of night fodder. Kazahaya takes a slept on Casablanca classic and moulds it into a heavy modern soul wonder.