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The sixth release on Italian imprint Tempo Dischi comes from Alessandro Bernabeo, aka Raduan, the Italian DJ and producer behind 'Taki-Naki-Naki', one of the most eclectic and unconventional electronic records made in Italy in the late 1980s.

"At the age of 7, I started attending a music school learning to play the piano. At 11 I began working as a speaker in various radio stations, and at 14, I joined Punto Radio where I grew up professionally and launched my own radio show, PLAY MUSIC, under the name Alessandro Giordani. The success was impressive, and thanks to my friend Gianfranco di Lizio, I also started my DJ career by playing in some of the best dance clubs under the artist name Raduan or Rad-one. Mixing funk, soul, afro and cosmic disco in my music gave me a chance to meet and establish relationships with many of the protagonists of this new musical scene, like l’Ebreo, Fari, Maselli, Claudio Mozart Rispoli, Pery, Rubens. In 1988 I was a resident DJ in a well-known club at the time, the 'RIO CLUB', and together with my keyboardist and percussionist, I had the idea to produce a maxi single. The song was recorded in about 40 hours without sleep at the Cicero Bros studio in Cassino in April 1988, with the support of Lino Rufo, a great artist from Molise, as well as his dear friend and old producer Toni Ochiello. The initial project was completely reworked. The original sampled drums were coupled with an acoustic one, and new melodies and fantastic spacey new sounds and effects were created by keyboardist Bengha. The hypnotic and repetitive voice of Cristina, Claudio Baglioni's background vocalist at the time, and that of Jamaica, originally from Mauritius, made the project even more interesting. 'Taki Naki Naki' is an Italo song, with Cosmic disco and Afro influences, and it's the title track of the EP originally released in June 1988 on Bmg Ariola, ex RCA. The EP includes two other songs 'Nightflight' and 'Hiroshima'. The record was a big hit in all the Italian Disco clubs and launched me into the international dance music scene. It was a fantastic time, with different styles of music and House Music was also on the way. There was a lot of research spirit and the people of the club were ready for various types of change. This record has left a mark, international DJs and shops from all over the world still contact me to ask if I have a vinyl copy left in my archive."

Wooohaaa! The figure 8 always meant more to us than just a symbol on your screen. For this very reason on our eighth vinyl release from Minor Notes Recordings we’re featuring non other than the legendary producer BMB SpaceKid. Stemming from St. Petersburg and from an early age, BMB proved himself to be an extraordinary musician. Able produces top quality compositions with ease, and in any style, but all with his unique twist.

To date BMB is best known in hip-hop circles as he made album beats for many key underground rap artists. He also went international and produced joint tracks with Dj Premier, Anderson Paak, Raekwon, GoldLink and many others.
BMB has also performed at the Fabric Club in London, the Outlook Origins festival, live on Boiler Room and BBC Radio 1. He also participated in the Red Bull Bass Camp and the Hip-Hop Academy.

On the record "Taste Booster" BMB SpaceKid showcases his taste and skills in the production of house style dance music. A tribute to the traditions of African-American music, the virtuoso mastery of MPC and sampling techniques, and an outstanding approach to melodic rhythms.
We are convinced that this record will appeal to everyone who loves true house music, acting as a breath of fresh air. To enhance the overall effect we invited one of our favorite French producers Art Of Tones, who for a long time, and just like us, has been promoting the organic sound of electronic music 4x4.

Dynamite Cuts takes a different move from the funk & soul and is proud to be able to press for the first time on 7” vinyl, two killer rock club tracks. Our A side is the powerful up-tempo “Elegy” a funky love song, with steaming guitars and heavy groove, massive club track back in the day! On the flip is the “The Kettle” heavy rock groove sampled by Fat boy slim for “Ya Mama”
Perfect for all good music collectors

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named the Back Street Warriors, Busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with the Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genres of music, he first played on
RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90s he played on Weekend Rush and then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early days MixMaster Max was one of the Innovators of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping others to produce, fuse & gain ideas in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the famous Hacienda club in Manchester.
He was the First DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC world championships in the early 90s.

He played at some of the Biggest Raves back in the day, Pirate club 93, Fantazia 92, Dungeons 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People's Choice, which were legal Radio Stations, not forgetting Kool fm & Centreforce.

He performed on stage with the We Papa Girl Rappers in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchuckers & TurnTables!
His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult
figure that inspired us all, giving us the freshest musical styles that had never been heard before!

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

Last time he brought his Emperor Machine project to Leng, via the seductive, call-to-the dancefloor that was ‘Dance Par Amour’, Andrew Meecham had vocalist Severine Mouletin in tow. On this welcome return to the label, Meecham has enlisted the help of another sublime singer: Bom Carrot 봄캐롯, lead vocalist with South Korean punk-pop outfit Tirikilatops.

Although the pair share a mutual friend, who had extolled the virtues of a potential collaboration to Meecham, it was only when Bom Carrot 봄캐롯 reached out on social media that the pair were finally connected. Meecham jumped at the opportunity to kick-start a collaboration, quickly firing over a track he’d been working on. A few months later, her vocals landed in his inbox and the rest, as they say, is history.

The resultant track, ‘춤춰 Chumchwo – Let’s Dance’, may feature many of the aural trademarks of Meecham’s Emperor Machine work – spiralling analogue electronics, vintage synth sounds, effects aplenty and infectious grooves inspired by New York’s no-wave movement of the early 1980s – but is somehow even more thrillingly wild, excitable, and exhilarating than you’d reasonably expect.

A big part of that, of course, is the inspired contributions of Bom Carrot 봄캐롯. Her freewheeling vocals – part sung, part spoken, and part improvised – are energetic, distinctive, and addictive, adding layers of post-punk abandon and a genuine sense of musical freedom. Combined with Meecham’s outrageously unpredictable backing track – there are twists and turns aplenty, as well as surprising percussive and musical touches that seemingly appear and disappear at will – the resultant song is like the unlikely sonic lovechild of Talking Heads, YMO, Pierre Henry and K-Punk.

As you’d expect given his track record of delivering freewheeling instrumental reworks, the vocal version comes backed with an extra-special Emperor Machine ‘Instrumental Dub’ version. Stripped back and percussive, with dropouts and breakdowns aplenty, this is no mere vocal-free take, but rather a reconstructed revision piled high with extra percussion, spacey electronics, echoing vocal snippets, bubbly bass and razor-sharp Tom Tom Club guitar licks –all arranged to rise, fall and rise again around Meecham’s killer groove. As the track’s title suggests: “Let’s Dance!”

The funky French duo is back with a new 7 inch!
Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. Two funky electronic flow, ready to electrify clubs worldwide. Our two
"chansonniers" are the leaders of "Afropeanité" and the Creolity.
The song "Pas si vite" champions deceleration and positivity during our complex period.
"Caipirinha" is a soft tribute to Bossa Nova, the dream of hot and sweet destination in a cold winter.
Recorded at « Le Triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement, even during the pandemic…

Unmittelbar nach der Veröffentlichung seines Debüt - Album "Where I Come From" attestierte der SPIEGEL: "Großartiger Start eines Supertalents", die NEUE MUSIK ZEITUNG kürte das Album zum "Debüt des Monats" und die renommierte "Münchner Konzertgesellschaft" verlieh ihm den Jazz - Förderpreis.
Mit dem neuen Album hat Sandro Roy nun augenscheinlich seine künstlerische Richtung gefunden, denn zum einen stellt er erstmals eine feste Besetzung, die Sandro Roy Unity Band, vor, zum anderen lässt er hier und da aber auch aufblitzen, dass er musikalischen Hochkarätern wie Bireli Lagrene, Jermaine Landsberger, David Gazarov oder Martin Taylor ein gern gesehener Partner im Studio ist.
Der auch bei SKIP schon mit eigenen Alben in Erscheinung getretene David Gazarov lässt das Django Reinhardt - Stück 'Place De Brouckere' in fast monkischer Schule daherkommen und zu Höhepunkten geraten die Begegnungen mit dem legendären Bireli Lagrene an der Gitarre, sei es die Hoagy Carmichael - Ballade 'The Nearness Of You', der Stevie Wonder-Klassiker 'You Are The Sunshine Of My Life' oder 'Dinelo', bei dem Sandro Roy und seine Band feinfühlig aber stets mit modernem Blick den Di Piazza-Klassiker mit Bireli Lagrene präsentieren. Und natürlich darf auch sein langjähriger Begleiter Jerome Weiss am Piano nicht fehlen, der in der Henry Mancini-Komposition 'Sabrina' den vielleicht klassischsten Zugang zu Sandro Roy offenlegt. Damit wird die Bandbreite unterschiedlichster Konstellationen abgebildet, die derzeit von Sandro Roy angeboten werden. Sandro Roy wird im Duo, Trio, Quartett, mit Orchestern und als virtuoser Solist sein Publikum weiter vergrößern, man darf gespannt sein, welche Ensembles er für sein Publikum auf den Festivals und in den Clubs bereithält.
Die CD erscheint im wertigen Digisleeve, das Vinyl kommt klassisch schwarz!

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

Following the »Minna Miteru« compilation, released in 2020, Morr Music announces a sequel, dedicated to Japanese indie music, overflowing with surprises and welcome discoveries. Like its predecessor, »Minna Miteru 2« is compiled by Saya of Tenniscoats, with the support of Markus Acher (The Notwist). It’s also another part of the Minna Miteru universe, alongside retrospective albums by The Andersens (»There Is A Sound«, 2020) and yumbo (»The Fruit Of Errata«, 2021). Taken together, these albums suggest a scene in rude health, sharing a unique vibration.

If its predecessor circled around Tenniscoats and their close friends, the second volume, though featuring a collaboration between Tenniscoats and Deerhoof as oneone, reaches far further afield, drawing from music old and new, far and wide. Consistent across »Minna Miteru 2« is a sense of wonder and a cheerful unpredictability: you never quite know what you’ll hear next. There are some gorgeous indie pop songs here, like Yuko Kono’s »Ginger« or HOSE’s »Baseball«, but there are other sounds too, like Kariu Kenji’s blue-hued electro-pop, or the wheezing pipe-organ ambient of FUJI||||||||||TA: »Minna Miteru 2« hints at new kinds of beauty.

Some of the more widely known names here contribute typically gorgeous melodies – Kama Aina’s »Wedding Song«, from 2005’s »Hawaii Hawaii« CD, is a reflective tune that combines a country-ish lilt with hints of slack-key guitar. Shugo Tokumaru’s »5 A.M.« is a delirious psychedelic pop mantra, drawn from his excellent 2005 album, »L.S.T.«. Many of the revelations, though, come from artists and groups relatively unknown outside Japan. The lovely, disorienting glitch-folk of Wasurerogusa features Aki Tsuyuko, perhaps best known for her albums on Thrill Jockey and Jim O’Rourke’s Moikai label, collaborating with psych-folk legends Eddie Marcon.

There’s also the delightful synth-pop of Jonathan Conditioner; the electronic dreamscape of Chaplin, whose opening »Out Cont« runs along several parallel paths at once; the twinkling, acoustic jangle at the heart of mmm’s luscious »Blue«; and a curious collection of miniatures, from acts like tenshinkun, Daisuke Tanabe and NNMIE, that embrace a childlike curiosity, essaying a kind of toytown pop-tronica.

The twenty-six songs on »Minna Miteru 2« repeatedly catch you unawares, upending your expectations and signaling both the breadth and depth of the Japanese indie underground. It’s a compilation of play and pleasure, but also of bold experiment smuggled into the everyday through pop music’s welcoming moods, magically creating a new world for the listener, spun out of the air and woven in between your ears.

Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed pramarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music.

While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.

Punchy, UK inspired House EP

UK-based producer Yak is one of the strongest talents in percussive, bass-heavy club music. His debut record Mido, which appeared on Version in 2017, remains an ultimate DJ weapon (Hard Wax) up until this day and is still tearing up clubs and festivals everywhere. After releases on Martyn's 3024 and the es-teemed R&S label, Yak delivers his third record (vinyl & digital) on Version, Balmora Blue/Swex.
This is a proper double A-sider that will surely get your dance bubbling. Swex and Balmora Blue are future rave anthems coming with earth-shattering sub, warm, elevating synths - and the trademark Yak drums to resurrect a dead soundboy's nana. Both tracks range around 120 bpm, but will sound as crisp at high-er/slower pitch or rpm too, making them versatile tools in every DJ's chest. Another essential bit from Yak and Version. Played by Vladimir Ivkovic, Moxy, Madam X, Or:la & Breaka.

Buraka Som Sistema co-founder and Enchufada label-head Branko presents OBG, his third album. The artist's most personal and reflective work to date, it's a letter of love and thanks to the community around him, to Portugal's breathtaking landscapes, and to the syncopated, window-rattling rhythms that emanate from the clubs and car stereos of Portuguese cities.

OBG is an album of organic textures and invitingrhythms, created in Branko’s signature style, andinspired in part by a series of outdoor DJ-setsperformed and streamed from beautiful locationsacross Portugal.

Features collaborations with his favourite up andcoming artists, including Cameroonian-Guadeloupean producer Ms Mavy, Cape Verdeansinger ÉLLÀH and percussionist Iúri Oliveira

‘Dark Farfisa’ is the debut EP by Bruxula, the studio project of Toronto’s Cosmic JD and Jerusa Leao. Firmly rooted in the city’s music scene, JD runs the Hypnotic Mindscapes parties and label whilst Jerusa works as a singer and multi-instrumentalist exploring traditional and fusion sounds centered around a Brazilian music repertoire. Introduced to us by our mutual friend Raf Reza, the pair began to jam together in the summer of 2020 with JD curious to incorporate Jerusa’s vocals into his often club-focused electronic productions. The results sit somewhere between the dancefloor and the living room, a psychedelic range of rhythm, melody and vocal harmonies that felt like an immediate fit for us.

First sharing an early mix of ‘Pala Mo’, the rest of the EP began to form quickly based on further recording sessions and we at 12th Isle are ecstatic to share their work with the world.

One years after the release of the album "Alianza" the remixes are here. 'Walking and Falling' is revamped with leftfield drums and atmospheres while 'Osera' and 'Sol' are rearranged as club tracks.

Introducing DAT (Italy) debut release on M-Tone wax. A solid,
bouncy 4 track EP crafted for club use.

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.

Squalls were a band who came from the same rich Athens, GA scene as
The B-52's, Pylon, REM., and Love Tractor, but played their own brand of
quirky pop with their own unique sound
Equal parts Lovin' Spoonful, Grateful Dead and Talking Heads, they got many a
person up on the dance floor. From 1981 to 1989, Squalls rocked Athens and
made several tours of the South, the Midwest, and East coast cities including
several shows at New York City clubs CBGB, Danceteria, and Peppermint Lounge.
They released 4 recordings and were included in the 1986 movie Athens, GA:
Inside/Out. The band also played at the legendary Athens 40 Watt Club 64 times
during their heyday.
Squalls Live from the 40 Watt is a collection of 24 tracks recorded by 40 Watt
Club soundman, T. Patton Biddle, and selected from five early 1980s shows.
Live from the 40 Watt is set for release on August 19, 2022 via Strolling Bones
Records.
Audio Link

Originally released in 1990 ‘Voaria’ was written by Benjamin Nhassavele and produced & arranged by the late Tata Sibeko, the revered South African producer and member of Kabasa. Taken from the LP of the same name ‘Voaria’ was released at a time when early house music was emerging as a key influence in the South African musical landscape, an evolement of the Bubblegum pop sound that had fused disco and boogie with township funk. Characterised by Roland kick drums, Yamaha DX7s and Juno Synthesisers the Kwaito sound is the musical heartbeat of ‘Voaria’.

As well as being in Novidade, Benjamin toured the world extensively as part of Alec Kaholi’s Umoja and ‘Voaria’ is a song about his desire to go back to Maputo, his hometown in Zimbabwe. Featuring Benjamin on lead vocals ‘Voaria’ comes in 2 versions, a main House mix on the A side and the Clubhouse mix on the flip which switches up the arrangement placing more emphasis on the magical groove. The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Vinyl Packaging: Gatefold LP + download card. Indie Exclusive Transparent Orange vinyl in gatefold jacket Limited to 1000. CD 6 panel Digipak. Gnosis is the highly anticipated 8th full length from Russian Circles. Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors. European Co-Headline tour with Cult of Luna slated for Marc 2023 (Dates TBA). Russian Circles have received coverage from most notable press including Pitchfork, Rolling Stone, Stereogum, FADER, AV Club, Consequence, Decibel, Revolver and much more.

When you talk about the origins of jungle music, DJ Dextrous is most definitely cited as a name that helped define the genre. His tracks were always on heavy rotation on the mighty Kool FM and every Jungle/DnB radio station across the country. Dextrous VIP dubplate specials were weapons in the record bags of Micky Finn, DJ Ron, Kenny Ken and his old mate from school DJ Hype!

The 1994 Jungle anthem Charged was released on the ground-breaking Suburban Base Records imprint as part of a ‘King Of The Jungle’ Trilogy. Now updated for 2022 Charged gets a couple of fresh licks from two modern day jungle specialists, backed up with original and VIP exclusive versions, all packaged on a beautiful 12” vinyl picture disc.

First up are the mighty Serial Killaz who’ve taken the original track and applied their trademark, award winning sound which has seen them releasing on Congo Natty, Philly Blunt, Souped Up and their own self-titled Serial Killaz label.

Next up is AKAS who’s recent Old Skool New Skool track on DeVice spend almost 3 months in the Beatport Top 10!! AKAS keeps things jungle for his Charged remix but tweaks the elements and pushes the genre to have the maximum impact on any dancefloor across clubs or festivals.

On the flip is an original unreleased VIP dubplate version, sourced from the archives or Da Kings Of The Jungle studio DAT recordings, which DJ Dextrous was playing in his sets exclusively.
Finally we have the classic original mix of Charged which has been beautifully remastered from the original source recording to make this picture disc release sound as good as it possibly can.
This is an extremely limited pressing & will never be re-issued so we’d advise jungle aficionados, both new & old, to buy on sight!!

The ever masterful London based DJ/Producer Shy One is back with a new 5 track EP titled From The Floor To The Booth. Following on from the fuzzy, acidic haze of the vinyl only Crumb Trail 7 inch the new EP encompasses futher rich and eclectic sounds of Shy's musical heritage, London leaning from Broken Beat to Soul, Garage to Grime. The record journeys through and abstracts a variety of styles, tipping its cap to the archtectics of Londons musical underground from Soul II Soul and 4Hero to Loose Ends and Roll Deep. A notion every bit apparent in Shy's eclectic bass heavy, hi-energy club selections. The record is Shy One's most in-depth and ambitious release to date. The artwork is created by Herald Essuman of Artbox London. An incredible London based charity that supports artists with Autism and learning disabilities.

Banoffee Pies Records, in its eighth year of operating, hit the 20th release milestone in their Original Series. Joining the roster, Cairo based producer Hassan Abou Alam steps up with a 4 track solo EP entitled "Fasla".

A decisive selection of attitude packed wormhole bass lines and dark basement jams.

The A side was produced in a special collaboration with local artist SHBL-LBSH who's vocal works feature across "Kesibt" + "Fasla". The B side delivers a series of sharp and cutting synth lines in "Mawkif" and breakneck low end rumbles in "Hanshoof".After a series of works on the likes of Naive, Not For Profit and Rhythm Section, Hassan fittingly joins the Berlin based, Bristol born label with more boundless sounds that slice through the fabric of styles that BPR have fostered since inception. Tailored club music fromone of Egypts new wave of producers.Hold your hats and check your Bassbins. BPR. X

Oli Stewart is Casbah 73. American-born, Madrid-based DJ, producer, vinyl collector and selector extraordinaire with several decades of experience under his belt.

Classic soul, funk and disco at its finest, with releases on mainstay outlets such as Glitterbox and Lovemonk, we're extremely proud to have him in the Boogie Angst record bins.

Casbah 73's Boogie Angst debut is a two-sided live band funk workout reminiscent of early 70's acts and labels such as 24 Carat Black, Black Heat and Strata East, but also connects to the current sounds of Black Jazz Chronicles, Sault and Nu Genea.

Let's Invade the Amazon is a highly grooved piece of live musical wizardry, with vocal performances to match. Beautifully extended and ongoing, the steady backbone interplay with funky electric pianos, with the occasional synth riff popping up for a breath of fresh air. And in the words of Casbah himself: "Quite possibly - no, definitely, the only soul-disco track ever to be inspired by Michael Mann's book "The New Climate War", The Clash, Sun Ra... and Dr Seuss".

On the B-side we find Pale Splash of Blue; some top shelf live Moog-, Rhodes- and Hammond featuring jazz funk. Punchy organs stab away alongside Casbah 73's signature electric piano sprinkles, bouncing around his unique rhythmic groove. All resulting in a driving pace and attractive up-tempo moment; more than worthy of that evening beach club get-together.

Casbah 73's sound is a clear amalgamation of his broad range of influences, and the two songs on this release are a definite showcase of his love for funk, soul and disco.

With some excellent remixes on their way, keep an eye out for the upcoming limited edition vinyl release.

'Casbah 73 – Let's Invade the Amazon' is out on all digital portals on May 20, 2022, via Boogie Angst

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual. The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights.

Following his triumphant performances at the 2022 Coachella Music and Arts Festival, Danny Elfman delivers Bigger.Messier., an ambitious double -album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album. This sprawling, 23 track collection (available on 2 LP or 2 CD) features tracks reworked by some of the most groundbreaking and subversive artists around today. Bigger.Messier. views the Grammy and Emmy Award-winning composers songs through the lens of luminaries from diverse sides of the music business, including Trent Reznor, Iggy Pop, Squarepusher and Ghostemane. Elfman once again has achieved a kind of artistic liberation on the record that had been eluding him for decades, and connecting him to brand new audience. Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and '90s. Among the group's early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee's Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films

honeybee table at the butterfly feast is the first album from the elusive Baltimore’s band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting.

honeybee table sits at an interesting point in the teen suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song “haunt me (x3)”, a cult-classic catalog track featured on the 2015 Run For Cover reissue

"Nightbird" heißt das Album der viel zu früh verstorbenen Eva Cassidy und dokumentiert eine besondere Nacht der Musikgeschichte, nämlich genau den 3. Januar 1996, als Eva und ihre Band im Blues Alley Jazz Club in Washington D.C. auftraten. Die aufgezeichnete Performance sollte sich als das einzige Eva Cassidy Soloalbum erweisen, das noch zu Evas Lebzeiten veröffentlicht wurde. Doch jetzt bekommt der Cassidy-Fan alle Songs dieser magischen Nacht auf Heavy Weight Vinyl und zwar in einer limitierten Box mit 7 LPs auf 45 RPM geliefert!

- Format: Box-Edition feat. 7 x 180g 45rpm LPs in einer Box mit einem aufklappbaren Deckel.

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of "firsts". First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album Nr. 1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 - 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy's love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einsturzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album Nr. 1 reflect its creator's taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album Nr. 1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive' Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album Nr. 1 than ever before.
Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

Retro house sounds from Italy on this release... tunes that still go down well with some of the big name festival dj's during their summer tour! A track that remained unpublished for 33 years until Devil Dee decided to make it public and bring his own voice to the spotlight joined by jazz-blues singer Joan Faulkner, (former supporting voice of Boney M and Milli Vanilli, also known by her stage name 'Dee-Vah'). Devil Dee is Davide Mancori - a cinematograph with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced this release which differs from most of the releases on Best Record by its housey vibe. 'And The Beat Goes On', was written in Germany in 1989 by Leonie Gane and Ryan Paris. Laying the crucial foundations for an evolutionary step of the italian disco music. A step forward for the 'Italo' movement which at the end of the 80s was been considered obsolete and defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity, If the meeting between Devil Dee and the famous interpreter of 'Dolce Vita' - Mister Ryan Paris - creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle. Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl printed at 180 grams celebrates the 40 years of activity.

Philadelphia minimal electronics artist, Plastic Ivy returns to Kraftjerkz with 3 profound, cold tracks including funky electro remix for the clubs by Philadelphia's Speaking Parts."

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

This is no easy listen... sparse, complex, often brooding arrangements coupled with Cassandra Wilson's deep, earthy voice and complicated phrasing demand your attention. Waver and you're lost. But... give this album the listening time & space it deserves and reap the rewards. Unusual, highly atmospheric tracks that combine superb singing and marvellously "distant" musical backings to weave real magic.

Cassandra Wilson's own excellent, jazz tinged compositions sit alongside a stunning set of ingenious covers from a highly diverse spectrum of composers. "Last Train To Clarksville" is transformed from a catchy pop song into a stripped-down and genuinely effective jazz vocal work-out. "Harvest Moon" slows down Neil Young's already wistful ballad to an almost painful level and, in so doing, takes it to an even higher level of gentle reflection. Hank Williams' "I'm So Lonesome I Could Cry" & U2's "Love Is Blindness" are transformed into 3 in the morning jazz club classics. The vocals and backing to Robert Johnson's "32-20" are simplified to the point where only the essence of the blues is allowed to shine and, Lewis Allan's "Strange Fruit" becomes as desolate and challenging as it's horrific lyrics.

Atomnation marks its 100th release with Peter, Barbara, Beth & Friends, the stunning debut album from Blomfelt & Narby. The immersive nine-track record arrives on August 26th and is a widescreen listen that fuses acoustic and electronic sounds with loose field recordings and tightly programmed drums.

Finnish-born Henrik Blomfelt grew up in Gaspar Narby's homeland of Switzerland, but the pair met on the dance floor of a pool club in Peckham while studying in London. Gaspar’s indie pop solo project was rewarded with a broad sweep of tastemaker tips from new music and electronica media alike, while Henrik had co-founded Resolution, an audio-visual collective and event series. The two eventually moved in together, but it's only a couple of years later, when Gaspar visited Henrik’s homeland of Finland, that they began making music together. They wrote half of the tracks that appear on the LP there, using an old piano, a cassette recorder found on location and their laptops. The second half was finished back in London.

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.

An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.

PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and 4-tothe-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects.

The first track “Generations of Sunsets” by Lipelis joining with Andy Butler from Hercules and Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove - also with the use of guitar - and expands the mind to exotic places keeping the body moving with its acid touch.

Italian 90’s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. “Kuasi Riviera” reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world.

Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout “Oil” with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time.

Benedek’s “Desperado” doesn’t shy away from deep diving right back to the 90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive,
immersive, and dauntless.

Madonna is the first and only recording artist to have 50 #1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna curated a new 50-track collection titled FINALLY ENOUGH LOVE: 50 NUMBER ONES which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades as well as an abridged 16-track version, titled FINALLY ENOUGH LOVE. This 140-gram 2LP gatefold jacket includes single covers and a track-by-track on all featured 16 number one singles.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix was newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage.

Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with 'Opening Night', a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, 'This Time Around', Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.

The album was written in Los Angeles and recorded at Gary's Electric in Brooklyn, NY over 2017/2018.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms