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Decay Records celebrates its tenth anniversary with a new EP from Italian duo Neverdogs, backed by remixes from Nu Zau and Ivan Iaobucci.

Over the past decade Decay Records has firmly cemented itself as a purveyor of sophisticated stripped back house sounds, releasing music from the likes of Shaun Reeves, Mihai Popoviciu, Christian Burkhardt, Alex Arnout and of course Neverdogs duo who return here to mark the labels milestone ten years of existence. The Italian Neverdogs duo have been steadily making their own mark over the past decade through material on Bamboleo, Kluki, This And That and Tamango.

Title-cut "In The Mood" leads with crisp drums, hazy atmospherics and a dynamically evolving construction. Ivan Iacobucci's twist on "In The Mood" follows and shifts the original into a murky, twisted interpretation with choppy stabs, glistening textures and crunchy drums intertwined with fragments of the original.

"Lion Heart" follows on the flip side and lays focus on a bouncy bass groove, plucked synth stabs and shuffled percussion before Nu Zau's take on "Lion Heart" rounds out the release, employing twisted acid squelches, dubby synth flutters and subtly nuanced drums all unfurling across its six-minute duration.

Hilltown Disco welcome's the excellent Luxus Varta to the label for the effective and powerful 'Retrofiction' EP.

A record with layers of intelligence and emotional synth work-outs. The sounds range from a melancholic A-side, touching on wave with more disturbed vocals on the B-side, all crafted with a woven spine of electro with serious pulsing basslines. Organised and articulated madness tracks for the club.

Oceanvs Orientalis reveals the second single from his forthcoming album on Crosstown Rebels with ‘Heart Pieces’ feat. Idil Mese, accompanied by remixes from Mustafa Ismaeel and Nightmares On Wax.

A producer, live performer and solo act whose productions merge influences spanning Turkish, Kurdish, Armenian and Arabic sonics and beyond, Safak Oz Kutle, aka Oceanvs Orientalis, has crafted a sound that is entirely his own ever since making his debut back in 2014. Following on from his impressive debut appearance on the imprint with ‘Il Lupo’ alongside Italian talent Tooker, revealing the first single from his forthcoming album, the Istanbul-based talent is back on Crosstown Rebels with another gem taken from the project as he reunites with singer-songwriter Idil Mese for the excellent ‘Heart Pieces’ - with remixes from Crosstown and Rebellion regular Mustafa Ismaael, and legendary house talent and Warp favourite Nightmares On Wax.

Slow-blooming and resonant throughout, guided by Mese’s soulful and emotive vocals, vibrant sax melodies and trippy background samples, ‘Heart Pieces’ is a dazzling slice of laid-back, jazz-infused house music full of subtle elements. Remixing the record, Mustafa Ismaeel leans towards late-night hours with a remix drenched in rolling percussion and sweeping leads, while Nightmares On Wax takes the track in two directions - opting for loose drums, hazy tones and chugging grooves across his first take before laying the focus solely on the musical elements with his ‘Club Dub’.

Kerri Chandler’s Kaoz Theory welcomes the return of Dj Steaw in January 2024 with his ‘Get Back To The Fonk’ EP.

Parisian House stalwart Dj Steaw has grown to become a widely respected figure in the field of
raw, underground, classic House over the past decade, racking up releases on many leading
imprints of the genre such as Hot Haus, Meta, Local Talk, Step and Phonogramme as well as his
own Steaward, Rutilance and House Puff. Here though he returns to Kaoz Theory following the
success of his ‘Colour Of Mind’ EP in 2022.

Title-cut ‘Get Back To The Fonk’ opens and sees Dj Steaw lay down a jazzy keys and stab
sequences, a bouncy bass line and heavily swung drums alongside an amalgamation of spoken
word vocals and chants. ‘Don’t Stop’ follows next and shift focus into deeper realms with warm,
fluttering chords, swaying subs and airy strings running atop of a robust rhythm.
‘In My Body’s House’ is up next to open the B-side, embracing a true House feel this time through
the use of organic piano melodies, sax licks and organ lines intertwined with a bumpy bass hook
and dubbed out vocal effects. ‘Grey Matter’ then concludes the original material, focusing on
multilayered dreamy keys, resonant flutters and skippy percussion.

The Label famous for its outstanding organic and melodic music, is thrilled to announce the release of Jacob Groening's
debut album, „TIMEFADES,“. This remarkable album is set to release on his own imprint digitally and on vinyl preorder on November 24, 2023.

"TIMEFADES" is an introspective and immersive collection of eight tracks that weaves a narrative from start to finish. Each song contributes to a story that is both dancefloor-ready and equally at home in intimate listening environments. Jacob Groening's unique ability to craft music that resonates on multiple levels is showcased in this extraordinary album.

In a significant departure from his previous works, Groening has seamlessly integrated sounds from his childhood into
"TIMEFADES." The album features a captivating blend of 80s synthesizers, which evoke a sense of nostalgia, harmonizing effortlessly with his signature organic sounds. The result is a sonic tapestry that not only captures the essence of the past but also propels it into the future.

An exciting and personal addition to "TIMEFADES" is Jacob Groening's own voice. For the first time in his career as a
producer, he lends his vocals to the album, offering a deeper connection to the listener. This newfound layer of intimacy elevates the emotional resonance of the music, making "TIMEFADES" a profoundly personal and moving experience.

One of the standout features of the album is Groening's discovery of the electric guitar as a primary composition tool. The
electric guitar weaves its magic throughout "TIMEFADES," adding layers of melodic complexity that captivate the senses and set this album apart from the artist's previous work.

For their next release, Futuribile looks to the work of Salerno star Carlo Fontana, presenting a set of hard-to-find & unreleased treasures titled ‘La Musica Del Sud.’

Carefully remastered at the West Hill Studio, the collection of tracks — which features contributing arrangements from Tullio De Piscopo — forms a moody pop funk paradise, with jazz horns and soul brass layered together, and amorous vocals crooning, supported by lush harmonizations and greasy gliding bass. Disco beats and exotic drums dance, prismatic pads and soft synths seek the stars, piano and guitar sing a spaced out blues, and amidst the moving grooves and deep swinging jams, moments of beautiful balladry emerge to touch the spirit.

Carlo Fontana's work is further testimony to a courtly and sophisticated musical aesthetic in vogue in Naples (and surrounding areas) between the 70s and 80s which had as its main proponents and protagonists exceptional musicians such as Joe Amoruso, Tony Esposito, Pino Daniele, Elio D'Anna, Enzo Cervo and many others.

Romania’s Constratti delivers his ‘Late Summer’ EP via Yecad, comprising two originals and accompanied by remixes from fellow Romanian producers Sepp and Mihai Pol.

Residing in the capital city of Bucharet, Romania’s Constratti has been grown to become a beloved producer and DJ on the local scene and beyond, racking up releases on the likes of Storytellers, Aesthetic, Eagervision and more. Here though, Constratti joins the roster of Yecad, following on from material on the label by Barac, Dragutesku, Vlad Arapusu and Swoy amongst others.

Title-cut ‘Late Summer’ leads and sees Constratti lay down crisp drums and ethereal atmospherics intertwined with acid tinged bass in unfolding with a subtly nuanced feel. Sepp’s remix of ‘Late Summer’ follows and shifts focus to a more rhythmic fuelled feel, bringing additional percussion to the mix while stirring in vocal chants and fragments of the original’s atmospheric core.

‘Tempura Rolls’ opens the flip-side, diving deeper via bubbling synth textures, twitchy resonant glitches and airy chord sequences, underpinned by a rumbling low-end drive and low-slung drums. Mihai Pol’s twist on ‘Tempura Rolls’ then rounds out the EP, taking things in a more peak, dance floor focused direction courtesy of a gritty bass groove, saturated drums and the original’s smooth chords.

Reverse board tip on with silver pantone print. The first ever reissue of Dorothy Carter's 1978 folk/psych/drone masterpiece. A truly unique album in Dorothy's catalog of otherwise traditional psaltery folk music, Waillee Waillee's essence sits in the confluence of Dorothy's mastery of the dulcimer; its shimmering notes fully enmeshed with the tremulous, cavernous drones of Bob Rutman's bowed steel cello. The core of this album, Dorothy's only with a full band, lies in the contradiction of traditional psych-folk idioms and the minimal avant-garde, referencing Henry Flynt and Laraaji as much as Karen Dalton. This LP version includes 12 page booklet with unpublished manuscripts, drawings, photographs, and songbooks of the songs from the album, as well as extended liner notes from friends and family of Dorothy Carter, including notable musicians such as Laraaji, Bob Rutman, and Alexander Hacke (of Einstürzende Neubauten). Drops soon - a joint release between Palto Flats & Putojefe Records.

Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

Locked-In's fourth release beckons you to dive deep into the distinctive sound of Session 4000 with the "Get Down" EP.

Launching the dancefloor manifesto on the A1 is 'Panaka,' a relentless groove brimming with infectious energy. The bassline asserts its dominance, while the synth patterns showcase a pure, playful mastery.

Progressing to the A2, 'Second Skin' unravels as a mind-bending revelation, leaving an enduring imprint. Session 4000 skillfully weaves intricate layers that captivate from the initial drop to the final fade-out.

Flipping to the B side, 'Get Down' lives up to its name, beckoning with a bumping rhythm and spraying synths. It's a decisive call to action, destined to be a certified dancefloor weapon tailor-made for late-night club escapades.

Concluding the EP on the B2 is 'Mr. Freeze,' as cool as its title implies. This track leaves an indelible mark, providing a memorable conclusion to this electronic narrative.

Nous'klaer Audio is proud to present a stellar line-up of remixers for Nadia Struiwigh's third album Pax Aurora. DJ Nobu kicks things off with his mind-bending IDM version of Nana. Followed by JakoJako's pulsating hypnotic metamorphosis of Dreaming About Rollercoasters. On the flip, Om Unit turns the healing sounds of Organic into a powerful club tool fusing influences of jungle, dubstep & electronica. The record is completed by Norwegian classical artist Julia Gjertsen, whose layered pianos playfully transform Feroit into a stunning kosmische track.

Tiella Sound launched in 2023 with a self-titled LP from Perugian artist VAISA, setting the scene perfectly with its lo-fi maelstrom of field recordings, obscure rhythms and tribal textures.
Neapolitan artist Livio Improta follows suit with ‘Fondamentalismi’, a 10-track exploration of broken, slow-motion rhythms coated in vinyl crackle and layers of atmospheric dust. Another superb album that announces Tiella Sound as a vital new label.

Korean artist and musician Jin Won Lee (이진원), otherwise known as Gazaebal, began his career in New York. Working as a sound engineer, alongside such illustrious artists as the Wu-Tang Clan and Janet Jackson, led him to develop a keen ear for dexterous audio design, melodic flair and catchy rhythm. But his true interest lay in uncovering the unique textures and synthetic qualities of electronic music. From the late 1990s to the early 2000s, Gazaebal focused on developing himself as a producer, synergising a uniquely potent take on club music, releasing three albums and appearing on numerous collaborations.

An established figure in the realm of contemporary art, Jin Won Lee is well-known for his hybrid, highly technological practice. In 2008, together with Jang Jaeho, he formed The Tacit Group, a collective for computer-coded art. Presenting works that manipulate audio and visuals in real-time through programming, the group has performed at the FAMS Choice selection, Lincoln Center in New York, at the Seoul branch of the Museum of Contemporary Art and the Sejong Center for the Performing Arts, among many others. As a solo practitioner, he initiated in 2023, a project that examines sound as abstracted vibration. brings together Jin Won Lee’s decades long investigations into sonic experimentation and the physicality of noise.

Outside the avant-garde, Gazaebal has enjoyed mainstream success, collaborating with Big Hit Productions founder and BTS songwriter Mr. "Hitman" Bang on remixes and arrangements for K-POP albums. They also formed the two-man group Banana Girl, with Gazaebal focusing on composition while Bang handled vocals, achieving a big hit with their 2000s track ‘Butt.’

Another crucial figure in Gazaebal’s life is his wife Nine who operates as his agent and business partner. Initially released in 1999 on Nine’s independent imprint dmstrax, the titular track ‘Talk’ first appeared on techno@kr, a compilation CD of Korean electronica. Together, they co-founded G Records, which was partly absorbed into Bighit Entertainment in 2005. Appearing as the inaugural record on Bighit, the original version of 'And So On' – featuring Bang’s vocal production – was not available for re-release due to licensing difficulties. But thankfully the multitrack was well preserved. Utilising these components, Nawon Ha (AKA Korean-but-Amsterdam-based artist Naone) re-imagines the song for Betonska Records.

A combination of un- and self-released material, Talk is an album that firmly belongs to the millennium while sounding utterly outside of space and time. A cosmic trance trip that draws on rock’s steely drive, wiggy acid basslines and warbling dub, the record is presented as a mix-friendly mini-album, with the 6 tracks ideally tailored to DJ-level quality and loudness. As much suited to the psychedelic rave scene of yesteryear as they are to present-day dancefloors, Gazaebal’s productions are defined by his idiosyncrasies. Melding the sheen of tight production and pop sensibilities with a flagrant DIY spirit, his music assuages the high-commercialism of the 2000s, resulting in a style that’s as definitely punchy as it is precise

LTD repress !

With their new EP on their own label, Italian duo Orion deliver a record full of lowkey atmospherics, textures and sublime frequencies. 2 original tracks and 2 remixes from italian artists Primal Code and Luigi Tozzi.

“Lie” opens the record with those classic emotional elements coming out from a long cloudy day in the studio.

As previously heard on their Smoke Machine live podcast “Orange” plays with layers, cinematic pads and hypnotic drums.

On the flip Primal Code’s “Lie” version encapsulates their dreamy and tribal approach with an intricate acid bassline that will take you on a journey.

Luigi Tozzi’s dark and loopy remix is something for your brain. Subtle hypnotic melodies and roaring low frequencies are the main elements for this club version of “Lie”.

We are delighted to announce the first vinyl release on TBX Records that features an eclectic selection of tracks. The TRAX VA showcases the diverse talents of four exceptional artists who have come together to create a mesmerising sonic journey. The a-side track dives you into the world of Rich NxT as he crafts 'Bluefunk', a groovy and hypnotic track that's sure to get your feet moving.

Next up comes Perky Wires who bring a fresh perspective with 'Take the Beat UP'. This track is a masterclass in blending a bouncy bassline with a tight house beat, resulting in a vibey experience that's both energetic and emotionally resonant. B-side is represented by a track called 'Melow' by Politics Of Dancing which invites you to a place of auditory serenity. Djebali closes this compilation by delivering 'Matmata'. This track unfolds like a story, with intricate layers of sound that keep you engaged from start to finish. Get ready to embark on a musical adventure like no other, and join us in celebrating this historic moment as we release our first vinyl record.

Between improv, pop and r&b abstractions, and contemplative balearics, Sam Gendel and Ugné Uma “Tam tikri objektai erdvėje” subtly meanders through a fragile and forward cosmos both inward and out.

Sam Gendel and Ugnė Uma’s Tam Tikri Objektai Erdvėje album sketches a layered, melismatic and intertextual view on what both performers define as a lightness of being. Ugnė Uma’s musical stance is influenced by experimental poetry and Lithuania’s 20th century underground music scene - jazz and folk, resulting from the liberation of the country’s independence movements. Sam Gendel, from Los Angeles, is a saxophonist and producer, proficient on more instruments than the saxophone alone, whose recorded work both solo and collaborative has brought him acclaim as a vital new voice in modern jazz and beyond.

Tam Tikri Objektai Erdvėje is Lithuanian and translates as Some Particular Objects in Space. The six tracks on the album stand for every letter of the word Saturn. They sketch out a sound palette both fragile and full of forward momentum. With hints of improv, sampling their own recorded work and sounds of a childhood’s Yamaha Portasound PSS-290 synth into abstractions of pop and r&b, some of these tracks reach an almost balearic feel, the more contemplative end of it. With lyrics delving into cosmic phenomena, Tam Tikri Objektai Erdvėje is an album about space, whether cosmic or inward or the one in between. It easily surpasses the sum of its influences and the materials and tactics used to produce it.

What you do is a fundamental question. But it's how you do something that ultimately determines the effect." — Julian Sartorius

With 'RLLRLRLLRRLRLRLRLLRLRLR', Swiss drummer and sound artist Julian Sartorius presents his third album in three years. Together with 'Ensemble This | Ensemble That' Sartorius has created a mesmerizing 39-minute percussion album that conclusively expands his artistic output. For the first time, an ensemble plays an idea conceived by Sartorius, while he assumes the role of an interactive conductor, manipulating the sounds made.

Sartorius is known for his fluid and versatile solo performances in which he continually modulates the sound of his instruments, adding objects and progressively unfolding his sound world. The idea of expanding this practice was already gestating when the 'Ensemble This | Ensemble That' invited him for a collaboration. Together with the drummers and percussionists Brian Archinal, Victor Barceló, Miguel Angel Garcia Martin and Bastian Pfefferli the concept was further explored, elaborated upon in detail, and finally realized.
'RLLRLRLLRRLRLRLRLLRLRLR' is both title and score for the ensemble's four percussionists. The pattern, consisting of 23 individual beats, is played continuously by the ensemble while Sartorius gradually makes alterations to the instruments played. The result is a piece that has a sustained rhythmic flow yet is perpetually changing. Sartorius' interventions and the precise musicality of the ensemble allows the listener to discover an expansive array of moods and intensities.

The album is structurally recursive but develops an almost mystical magnetism through an odyssey of diverse musical landscapes. Sartorius explains: "It amazes me deeply how much the sentiment can change based on a musical mood - this sense of curiosity is made audible with this album." The album recording itself is designed as an endless loop: at the end of the recording, the ensemble's sound has returned to its starting point, thereby completing an endless, self-contained cycle, with no beginning or end. In this way, Sartorius also echoes his 2021 album 'Locked Grooves'.

Julian Sartorius' precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has released numerous solo albums, creates audiovisual art works, collaborates with musicians, writers, and artists, and performs live in intimate venues and on festival stages.

Ensemble This | Ensemble That (ET|ET) have established themselves not only as interpreters of contemporary music, but also as collaborators to a wide range of artists including projects like Zimoun, Myriam Bleu, Strotter Inst., Lê Quan Ninh, Marko Ciciliani, Jürg Frey, and Michael Maierhof, amongst others.

Club U Nite Records is excited to announce the 4 Track EP "Deep Trax Volume 2"

Side A, Track 01: Blak N Orange - Feeling Real Good
Blak N Orange delivers a deep house masterpiece with "Feeling Real Good." This track features a mesmerizing baseline that harkens back to the old-school era of house music. The irresistible vocal example “Feelin’ real good” will make you feel really good on the dance floor!

Side A, Track 02: Black Chunes - Don't Hold Back!
"Don't Hold Back!" by Black Chunes is a house-stomper that combines minimalism with a powerful punch. Its dope and dirty beat is a secret weapon that will ignite dance floors, making it a standout track on this release.

Side B, Track 01: Black Chunes - Feel The Flow
Black Chunes returns with "Feel The Flow," a track that exudes a jazzy, soulful, and groovy vibe. It's a feel-good masterpiece that is sure to bring positive energy to any dance floor, setting the mood for a night of musical delight.

Side B, Track 02: DMA - That Crazy Thang
DMA's "That Crazy Thang" takes us on a journey through classic organ house territory. With a straight, deep, and kicking groove, this track is both timeless and contemporary. Jazzy vocal samples add an extra layer of dopeness to this minimal yet highly effective dance floor weapon.

"Deep Trax Volume 2" is a testament to the enduring appeal of classic house music. Club U Nite Records is proud to present these four tracks, each offering a distinct experience while paying homage to the roots of the genre.

WOLFDRIFTA steps up to his own Wolves That Drift label with another stylish fusion of sounds that stand him out in a class of one. The London based artist has a fresh sound and is really making waves with his own platform which evokes real emotion and brings innovative sounds to the underground. The title cut pairs dubby bass with snappy electro-style percussion and sci-fi melodies. It's a distinctly futuristic world of cinematic designs and immersive atmospheres. Remixer Theo Nasa has credits on the likes of Rekids, ASPX and We Are The Brave and flips it into a double time and bass heavy stepper with compelling rhythms and tribal percussion. Tekdroid then layers up crispy drum programming with swirling pads for a twisted and acid laced techno workout. Glitch Overdrive has a future sense of soul over hunched drums and rasping bass.

Phuture Shock is a game-changing EP from this crucial producer.

Oceanvs Orientalis teams up with Italian artist Tooker and joins the Crosstown Rebels roster with ‘II Lupo’, including a remix from Acid Pauli.

Hailing from Istanbul, Safak Oz Kutle, also known as Oceanvs Orientalis, is a true maestro at crafting hypnotic, evolving sounds while blending a diverse mix of Turkish, Kurdish, Arabic and Armenian influences. Unfolding after a busy year of performances at venues across the globe, including a notable appearance at Crosstown Rebels’ Rebel Rave at Club Space Miami, he now combines his signature downtempo sound with the talents of Italian native Tooker, a partnership two years in the making. With their joint creation teased across their sets, both artists now unveil their first collaboration on the label with the soul-stirring, ‘II Lupo’ including a remix from Damian Lazarus’ longstanding friend Acid Pauli.

‘II Lupo’ weaves a haunting atmosphere through ethereal synth-lines, echoing wolf howls and low rumbling drum hits, transporting you to a realm of intrigue and allure. Infusing his unique touch, Acid Pauli adds an extra layer of sonic flare to the release by layering cosmic stabs and shimmering chimes, enriching the melodic experience.

Label head Blue Hour steps up for the next release with an impressive two tracker, offering a new exploration of sound from the Berlin based producer. First up on the A side ‘Dimensions’ reveals a dramatic and eery driving Techno track with an atmosphere akin to early British IDM releases but with a more dancefloor-focused approach. ‘Dimensions’ is punctuated by warped mechanical percussive fx, pummeling drums and relentless groove highlighted by a simple yet effective melodic line which boldly opens things up and cuts through the complex layering of sound as the track evolves. On the B side ‘Sun Dogz’ adopts a similar soundscape, however picks up the tempo with a more Trance orientated production inspired by darker Goa/Psy styles and modern Fast-Trance productions. Hypnotic acidic lines, spatial fx and tribal percussion guide the listener to the main event. A heavily reverbed metallic hook and unique piece of sound design which takes multiple twists and turns along the course of the track. The EP wraps up a year of multiple successful releases from the label, with next year marking 10 years since the labels inception - keep an eye on things to come.

Andrew Macari joins up with Paka Project for a first outing on the fledgling Greenhouse Recordings labels here and delves deep into some true-school deep house. 'Beeston Fields Drive' is a warm and diffuse opener that rolls on loopy drums with balmy chords melted over the top.

'Hold Dat' has jazzy motifs and funky bass riffs down low that remind of early West Coast tech house sounds from the likes of Fresh & Low and 'All We Need' then layers up r&b samples and even more smooth and silky late-night chords into a real smoocher.

'PR Process' ends on low-slung and lumpy drums and spoken word samples run through with dubby chords.

Prophecy, whose previous releases were received to great acclaim, returns with a new EP produced by the label head honcho Elias the Prophet. This time treating you to four original tracks and a stunning remix by Tensal:

"Creatures" could be described as a walk through the forest, but it's getting dark and thousands of eyes are watching you as you get lost in the thick undergrowth. As panic sets in and dark thoughts take over, you start running towards an uncertain fate!

On his remix of "Creatures", the one and only Tensal has masterfully blended powerful beats, eerie voices and pads from the original with his own frenetic synths, creating absolute chaos and madness!

More uneasy vibes with "Exorcism", as supernatural synth layers and Gregorian chants ride above hard percussion, if Satanists listened to techno (some probably do), this would be their jam!

The Keeper is an ideal dj tool, with its broken beat and ferocious FX it creates an unstoppable momentum that will destroy dance floors!

As a finishing touch, "Crime scene" paints a bleak picture of a dystopian future, warping FX and synths to infinity and beyond.

Talla 2XLC is always at the top of beatport sales trance charts with his inventive originals and mouthwatering reworks. His next release Welcome To The Future on That’s Trance is an excellent update of the Schiller’s side project Nova released in 1999. Get ready for a magnificent uplifting euphoric trancer with infectious main melody to blow your mind and uplift your senses. Welcome To The Future employs psy trance sharp basslines, punchy booming kicks and classic trance percussion to create its intense drive while on top piano chords, gated trancy voices and nice synthy hooks are added to create a starling infectious result.

The breakdown is a magnificent cinematic journey with warm strings, airy pads, spacey sound effects and beautiful spoken female vocals describing a better future without the ugly side of our society. The finest highlight of the track is the incredible euphoric synthy riff that has the darkness and melodramatic tones that we all adore in our trance. When the beat strikes back this unforgettable melody is supported from additional melodic layers, piano chords and energetic acid over tones to toughen the proceedings. It’s one of those tracks that will easily crawl under your skin and become part of your trance DNA recalling the great epic Frankfurt trance sound with its industrial and high tech feel to it.

Welcome To The Future is Talla’s outstanding track out now on his own imprint That’s Trance.

The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.

It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.

The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.

Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.

We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.

The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)

Enjoy the music and play it loud!

Lars & Maarten

Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

Keith Farrugia aka The Maltese Magician aka Sound Synthesis has been changing the face of the electro/techno community for many years now with his deep audioscapes. Taking you on a musical journey that’s deeper than Atlantis!


With previous releases on Ralph Lawson’s 20/20 Vision, Nocta Numerica, Gated Recordings, Planet 17 and Exalt to name but a few, Keith is a producer in high demand and we are grateful that he graced AmenTec with two incredible tunes that take the listener on a journey of musical imagination.


On the flipside, Amen Brother supplies the remixers for this release. Firstly, we have Cridge & Powder, two Bristol old school dons and royalty of the hardcore and jungle scene. Cridge is a member of the Bristol band Up, Bustle & Out and label boss of Tribe Recordings. Powder is part of the old skool hardcore group Fruit & Veg, who have been repressing their music on Vinyl Fanatiks recently. The guys turn in a rolling hardcore joint.


Next up on the remix are the Moving Shadow legends that are Tone Def, straight outta Bournemouth Town. The guys ease of the BPM a little and add an addictive vocal hook to their mix, showcasing the broad spectrum of the hardcore rave community. Rog from Tone Def is also the owner and creator of the Void soundsystems!
An EP with many layers!



c b1. Electrical Synapses Cridge & Powder 'Fruit & Veg' Mix
Tone Def Remix

As we continue the five part journey to say goodbye to the Telomere Plastic series, we as always, are excited to share with you Telomere 020.2.

This second VA, features producers, Anderson, Aspetuck, Bænglund and Watch Patrol.

We begin off the record with ‘Funk Inspector’ from Bænglund. The track name here sums it up pretty well. Full on quirky funk in the airwaves. A delicious cut to keep everyone on there toes!
Next on the A2 we have Aspetuck with his ‘As the Fog Rolls In’, Starting off with a bubbly soundscape the track progresses into a hypnotic acidic journey keeping the mood deep and melancholic. Handle this one with care!

On the B1 we have Anderson who delivers another deep and beautifully crafted soundscape. This is a timeless tune that takes you on a sonic journey from start to finish. This will work wonders on the dance floor and during your introspective moments laying in bed with your headphones bumping.

Lastly, we close out the release with the one and only Watch Patrol who we have all dearly missed. We hope you enjoy this slowed down IDM breakbeat gem!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Welcome back to sublabel Trix Trax, our series dedicated to sharing the Techno side of things.

After a little hiatus Trix Trax is back with a stacked four track VA, Technotations Vol. 1. Blending techno, IDM and breaks this releases showcases some of the many styles and energies the genre has to offer.

Starting off the VA, we have the track ‘Losing’ from Japanese producer MAGPOST. This loopy, hypnotic groover will add a layer of intrigue and mystery to your deep and moody sets!

Next up we have ‘Rise’ from JD Typo who’s debut EP, started off the Trix Trax series. This speedy techno cut will cause mayhem on the dance floors, nourishing souls in its wake with ethereal lush pads and vocal chops that creep in as the track progresses!

On the flip side we have a sobering track from Ukrainian producer Taras Vinnichenko called 24.02.22. Created the day Russia invaded Ukraine, t’s an auditory diary of Taras’ reaction to the unfolding of events. The crunch of the bass and breaks audate the panic and disarray on the ground.

Closing off the EP we have a unique groover from US producer Mr. Projectile who recently released an album on Wex sub label, La Luna. This crunchy and jittery cut takes you on a bass heavy, boom-filled journey of speedy techno and IDM!

On the sleeve, Sonia Malpeso delivers another whacky custom design on the front sleeve as well as a beautiful typographic showcase on the back and inner sleeve!

Having explored rather obscure and downtempo territory with Mr. G's album Pearls Don't Lay On the Shore earlier this year, CHILDHOOD returns with another discernig 12" dedicated to the dancefloor. Welcome to PLACE OF CONNECT PT.01!

Ed Davenport, who has mainly focussed on his INLAND moniker in recent years, brings back another distinctive side of his personality delivering three unique, raw and pumping house cutz under his real name.

The A-side starts off with Suntazia, an acid break beat anthem that sheds light and euphoria onto any dance floor, and is followed by the true jacking groove that is Inertia.

The B-side is made up of Electricity, a wonderful testimonial to those magic moments on the dance floor, when everybody in the room just moves and moves... beyond the need of unnecessary gimmicks and sonic spectacles.

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.