Suche:dance 6

Yours Truly is the debut studio album by American singer Ariana Grande. It was released on September 3, 2013, by Republic Records. Incorporating R&B, Yours Truly was influenced by Whitney Houston, Amy Winehouse, Christina Aguilera, and Mariah Carey, amongst Grande’s other idols. Grande describes the album’s first half as a “throwback” to the R&B music of the 1990s, and the second half being “very unique and very special that I’ve sort of written” which is completely original. On the album, Grande co-wrote six out of the twelve tracks and recorded a number of songs on this album over a three-year period. The collaborations are with Big Sean, Mika, and Mac Miller. Occasionally, the album dips into other genres such as adult contemporary music and dance music.

Following the release of his debut album, ‘sketches of transition’, UK house devotee Seb Wildblood has curated a brand new collection of remixes, inviting a cast of artists to reimagine tracks from the LP - featuring contributions from Suzanne Kraft, object blue, Ciel and Jenifa Mayanja. Running Back and ESP Institute affiliate Suzanne Kraft opens into the collection, offering a typically atmospheric, Italo-inspired take on sombre pop cut ‘amelia’.

Breakthrough experimental club producer and DJ, object blue, warps the easy-going pace set out in ‘sketches’, drawing focus to its woozy mood with muffled vocals and disjointed percussive hits. Swirling synths and a rich ambient tapestry make for an intoxicating rework.

On the B-side, Bumako Recordings boss Jenifa Mayanja puts a percussive deep house spin on the technicolor minimalism of ‘small talk’. A live bass groove pops beneath the track’s swaying synth beds and melodic chimes, making for the most “classic” dancefloor take of the bunch.

Discwoman affiliate and DJ/producer extraordinaire, Ciel, bathes ‘bahn’ in fluttering psychedelic percussion. Invoking the likes of Orbital, Boards of Canada and The Black Dog, with an emotional candour shining through the foggy atmosphere.

EBM, Electro, New Beat, Acid, Balearic Beat…
a perfect compilation for the lovers of the old-school darkside of the dancefloor!

Elkka - the London based DJ, producer and founder of record label and DIY art collective femme culture - has announced her latest EP ‘Every Body Is Welcome’ on her imprint, following a very strong year constallated of live perfromances and DJ sets throughout Europe, and a growing radio presence in London and beyond.

‘Every Body Is Welcome’ will be released on 22nd of November. Smudging the boundaries between eras and styles, Elkka’s free-wheeling dance tracks float between club beats, earthy sounds, full of warmth, soft edges and lovely instrumentation which all lead to a completely captivating and blissful listen. The infectious new five-track EP looks set to further solidify her status as one of the artists changing the shape of dance music in 2019.

The EP kicks off with an acid-sounding dance thumper that elegantly moves along the piano melody, for a beautiful house start to the whole project. In typical Elkka style, the EP moves from the atmospheric, sun-soaked rhythms of ‘Compromise for What’ and ‘LVURSLF’ Interlude, to the more club-oriented, 4am nightscapes of ‘Avant Garde’ - ending with ‘Breathe’, the perfect union to these two different sides of her artistry in one elegant, thumping, soulful track.

‘Every Body Is Welcome’ was informed by Elkka’s own deeper understanding of who she is as an artist and what the dance floor means to her, claiming that “​Arriving in London in my early 20s I was a completely different person in every possible way and discovering club culture, the rave scene and queer spaces allowed me to explore myself fully as a woman and as queer person. For me, the dance floor has been a place where I have felt the most liberated, the most myself, unified with friends and strangers by the music and moment we are sharing. This EP is a celebration of those moments, of the dance floor, of dance music that has inspired me creatively and personally. Every Body Is Welcome symbolises what I hope the dance floor to be - a music utopia or haven, somewhere for everyone to feel safe to express themselves, to find themselves, to be whoever they want to be and feel part of a community of acceptance and tolerance. Idealistic? Yes but I think art should be a space to express idealism and where we hope to be.”

Her previous EP​ ‘​Full Circle​’​, released via femme culture, received acclaim and support from Annie Mac, Pete Tong, Tom Ravenscroft and Elkka was also named as one of the artists to watch in 2019 by ​Mixmag​. In addition, Elkka has garnered playlist and radio plays from acclaimed producers Four Tet, Floating Point’s and George Fitzgerald.

Elkka founded the femme culture label and collective in 2016 in response to the lack of support for womxn DJs, producer and artists, later teaming up with fellow DJ and creative Ludo who she now co-runs the platform with. Since then, the progressively minded collective have been swiftly gaining recognition with their boundary-free ethos that champions women, women-identifying, artists and the LGBTQ+ community whilst pushing forward-thinking music through their carefully, curated club nights and events.

Earlier this year they released their second label compilation ‘HeForShe x femme culture.’ Compiled in aid of the UN Women, the compilation featured fresh new sounds from the likes of Lone, Elkka herself, Martin Bootyspoon, India Jordan, Ouri, Nightwave and more - and earlier this summer they hosted their annual alternative Pride after-party ‘PROUD’, in which all the proceeds went to The Albert Kennedy Trust (a charity for homeless LGBTQ youthsworthy causes).

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching it's 30th anniversary. It's sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

After stand out releases this year on Version and Wisdom Teeth Piezo returns to Ansia with a new 2 track EP Art Attack Gone Wrong / perccssszzzz. As has been evident with past records Piezo has always had a strong ear for using interesting sounds which have been expertly sculpted to create a unique sound universe.While releasing on other labels has allowed him to work closely with his peers the freedom of having his own label allows for him to explore his influences from the Italian rave scenes in a more direct manner. For ANSIA004 these influences are streamlined into a techno orientated sound palette with traditional four-on-the-floor beat patterns but with an approach more related to the sounds of Diagonal than Berghain.With 'Art Attack Gone Wrong' the milanese producer merges dancefloor efficiency with a playful approach to distortion, melody and sound design, while on the flip you will find 'perccssszzz', a no-frills heavy-swinged drum workout which, as the names suggests, refuses to include pretty much anything else than percussive elements. This time Ansia goes dark for the vinyl edition with white-ink stamped Tweetie on black label - and last but not least, 180gr vinyl cut deep and loud!

We wanted to make a promo text for this release, but then this message by Alphabets Heaven came thru:

Subtitles is my love letter to salsa. A torn, scribbled, badly translated love letter to an old address that the resident left years ago. But fuck it, it's still a love letter.

Every since I heard Larry Harlow's La Cartera about 12 years ago I've been trying to find out as much as I could about salsa. So much of it runs counter to everything I know about dance music, and yet it so clearly bangs. So on and off for the last 10 years I've been buying salsa, trying to work out how many imprints of Fania there were, trying to get my head round the horn arrangements, and generally having a great time with basically no contact with anyone who was actually a part of the culture in anyway. My Spanish is pretty bad as well, so all I really know is quite a few songs are about farmers.

Subtitles is my shot at salsa. My completely uneducated stab at something that's way too complex to just guess at. Not surprisingly, it sounds nothing like salsa. What's weird is that it sounds like pretty much everything else I listen to. I think in many ways it's the most honest thing I've ever made. By completely failing at making salsa I've managed to blend together all the club music, art music and everything else I've loved. You might hear some UK funky, or whatever the 2019 version of that is called. You might hear some minimalism. You might hear some psyched out shit. You also might hear a gigantic fucking mess. Subtitles is a translation to a film done so badly you find out more about the person who translated it than the film. I was trying to tell you about the film, but maybe you'll like the subtitles.

Shout to London Afrobeat Collective for the horns Memotone for the cello Deft for the Woos. Shout out to Scratcha DVA for being Scratcha DVA.

Phillipi is set to release his debut solo EP ‘Amadurecimento’ on November 29th via DEEWEE, the multi-faceted label and creative space operated by brothers David and Stephen Dewaele (2manydjs, Soulwax).

São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters including 6 Music, Mixmag, DJ Mag, PAPER, Tiga and Joe Goddard + more.

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

When it comes to underground New York Disco, Donna McGhee's highly sought-after 1978 LP, "Make It Last Forever," ranks among the best in the genre, thanks to Donna’s singing and the production skills of legendary producers Greg Carmichael and Patrick Adams.

Featuring five songs penned by the producing pair, it's got their quintessential Disco sound of the late 70s topped by Donna McGhee's superb vocals. These have also blessed recordings by The Fatback Band, Phreek, Bumblebee Unlimited and The Universal Robot Band around the same time.

The album has been an elusive affair since it first came out in 1978 and this is one the first times in decades it is widely available in its original form with newly remastered audio. Donna McGhee has been one of the key female singers of the New York disco scene, gracing several cult albums with her superb singing. The Brooklyn native began her career singing Gospel in her grandmother's choir from an early age, honing her skills and making a name for herself locally as a talented singer.
Her first break in the industry came when she was spotted by bass player Johnny Flippin, who invited her to join his band.
The group was none other than The Fatback Band led by drummer Bill Curtis. This was 1975 and the album was "Raising Hell."

McGhee's vocals can be heard throughout the album including the dancefloor classic "(Are You Ready) Do The Bus Stop" and after this initial collaboration, she stayed with the group for a another few years recording “Night Fever” in 1976 and touring with them all around the country. Following an encounter with producer Greg Carmichael, Donna McGhee jumped ship and started working with the prolific producer and his partner Patrick Adams.
A string of collaborations followed with singles and albums that have become the stuff of legend over the years: Donna can indeed be heard singing with Bumblebee Unlimited, Universal robot Band and on Phreek's classic self-titled album from 1978, singing on the track "May My Love Be With You."
In 1978, After Greg Carmichael set up his own label, Red Greg Records, he and Adams decided to get McGhee in the recording studio and produce her first solo album. With the pair playing most of the instruments, they got five tracks out of the session. The result, "Make It Last Forever" is an all-time Adams/Carmichael classic: funky disco arrangements with a touch of synths over a pulsating groove magnified by McGhee's superb sexy singing.

All five tracks have become classics in their own right.

With its latest release Matasuna Records continues to explore contemporary Afrobeat from different countries. After the last trip to the Swiss Mittelland, this time the journey goes across the English Channel to discover more new & authentic Afrobeat and serve it on a tasty vinyl single.

Heroes of Limbo is a new studio project from long-time collaborators, producer and multi-instrumentalist Glenn Fallows (The Impellers, Disposable Breaks, Andres y Xavi) and trombonist/arranger Gram 'Canyon' Treldavs.

Reimagining classic and contemporary pop as authentic 70's Afrobeat and Highlife from Nigeria and Ghana, this first release asks you to fire up your time machine in your mind and wonder what would the Happy Mondays sound like if they'd played at Fela Kuti's Afrika Shrine, rather than Manchester's legendary Hacienda Club? What if Disclosure were not a Mercury Prize-nominated electronica duo, but a Highlife Orchestra based in Accra, Ghana?

Madchester Woman takes Ebo Taylor's African Woman and uses it as a chassis for a cut 'n shut reworking of Happy Mondays' 1990 classic 'Loose Fit' - a hot and explosive mixture as you can easily hear!

White Noise, featuring vocals from Clair Fallows (The Impellers, Soul Grenades), re-works Disclosure & Aluna George's electro-house anthem into an uplifting slice of afro-disco dancefloor shuffle.

Following on from his Mud EP, one of this year’s most distinctive, body- and mind-contorting dancefloor 12”s, Haunter Records boss Heith fires up his Saucers private press for a KILLER collaboration with longtime sparring partner Weightausend. Seriously, this is the biz - broken, bionic, 4D dancehall / tekno battle-droids that carve out disruptive new geometries in the dance without once dropping the ball or getting on your tits. Feels like there’s a million different going things on in each track, and yet H&W build air-flow into their creations - there is room for reflection and bliss-out amid the tangles of twisted metal and reptile blood spatter! Massive tip for anyone into that recent Pharmakustik record, Mike Dred & Peter Green's Virtual Farmer...but this is totally it’s own thing. With suitably stomach-turning artwork by the great Tim Ryan.

Belgian imprint Muzik & Friendz returns with the last release of 2019 featuring a 4 track various artist package with Joss Moog, Yusuke Yamamoto, Peletronic & Jakobin and Platzdasch & Dix.

With the forcus set on the deeper vibes this release kicks off with the A-side package of PlatzDasch & Dix’s ‘Pointillist’ a mellow workout sprinkled with melodies and deep vibes, followed by Peletronic & Jakobin ‘Etta Jamz’ a deep and soulful cut with a real dancefloor groove.
The B-side see’s Yusuke Yamamoto’s ‘Kick Ass’ combine an hypnotic pad, bumpy bass and punchy vocals with a wink to the old school, while Joss Moog ‘Oazar’ shows off his exquisite production skills with a grooving and bumping cut.

Black Vinyl

As Rune & Ruin’s initial release, the duo of Lynette Cerezo and Zanias present a new offering of brutalizing intimacy.

INSHROUDSS marks the first Bestial Mouths release entirely written and conceived by Cerezo, vocalist and frontwoman since the project’s roots in 2006. Through each of the EP’s five tracks, Cerezo’s commanding voice usurps the role of victim for that of destroyer—with scars where wings once beat the sky.

Drawing from the initial Bestial sound of emotionally gripping post-punk, Cerezo crafts deeply personal lyrics of self-stagnation and trauma, while longtime friend and collaborator Brant Showers (∆AIMON/SØLVE) provides a heart-pulverizing fury of industrialized electronics. Along with production by new collaborator Alex DeGroot (Zola Jesus), INNSHROUDSS remains infinitely body-moving on even the most discerning of darkwave dance floors.

In the fall of 1978, after working with a series of bands, New York-based musician and composer NickWest became interested in experimenting with minimalism, collaborating with guitarist and songwriter Ramona Jan and Lyn Byrd. They decided to play pure pop but to substitute a primitive electronic beatbox for a human drummer. The result was Comateens, becoming one of the first groups to discard the traditional sounds and line-ups used by everyone else in New York City’s downtown music scene of
the late 1970s. In 1980 Nick’s brother Oliver joined them as guitarist, and after going on to release three major label albums (Comateens, Pictures On A String, and Deal With It), and with some
successful tours and dance-club hits behind them, the band split up following the terribly untimely death of Oliver in June 1987.
However in 1988 Virgin Records issued another LP entitled West & Byrd, recorded by Nick and Lyn as a duo, and in 1991 released a retrospective compilation called ‘One By One: Best Of Comateens’, now a rare and much sought-after record among collectors of new wave music. Acclaimed by Etienne Daho, the band has made a name for itself with the singles “Late Night City“, “Get Off My Case“ and “Don't Come Back“.

From the people who brought you Disques Sinthomme and Ghost Town comes a new imprint LESDK.

Bringing back that NYC Lower East Side grime, LESDK will feature edits as well as new work from Dennis Kane and his circle of proper low-lifes...

Ghost Town and Disques Sinthomme featured contributions from Brennan Green, Richard Sen, The Beat Broker, Bicep, Jose Manuel, and Cosmic Metal Mother, as well as edit monsters like Jeff 'The Drunk' Overton and Cazbee. Kane will be helming this label, curating work and providing his own productions and remixes.

LESDK

Starts off side A with 'Real' - A soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. "Now it's time to be real..." Edit as manifesto - Pure heat! The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.

Side B brings 'Action' as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal, "I like to party, I like to flirt..."

Side B closes out with 'Motion', a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along.
This song has heartbreak and the haze of an early morning on the dancefloor.

Three essential edits for the DJ to bless the party people with.

Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.

pparel Music is delighted to welcome aboard one of the most talented house music producers in the scene, Goddard, who’s the protagonist of APLTD012. The twelfth release of the Apparel’s limited catalogue is a brand new 4 tracks EP called “Signals” by the Mancunian featuring a 4-hands collaboration with Harry Wolfman and a remix by Jad & The. Every single track has been chosen carefully since the beginning of the project to make this record a representative work of the artist who perfectly blends his musical knowledge with the label’s imprint. The opening track “Fourth Dimension” is a teamwork between Goddard and the above mentioned Wolfman and is the ideal start with its crunchy, slightly distorted beat, bold bassline and spacey chords and arpeggios, surely a track for the DJ’s out there to play out to a busy dancefloor. A2 is the title track “Signals” and it lowers the heartbeat, displaying all Goddard’s talent on the keys and creating an impeccable fluctuating soundscape of his musical characteristics: the beat is an oscillating, yet solid structure while the different timbres of his synths evaporate and reappear conceiving a dreamy, spacey track. Side B begins with the whimsical chords of “It’s Not So Cold In Tromso” where the artist takes the listener to a brief and intense trip to see the Norwegian northern lights; the track is made by a strong rhythm section and flighty, far-out, harmonies which really evoke Scandinavian landscapes. B2 is a free interpretation of the previous track by the Australian Jad & The who amalgamates a jungle-ish beat to Goddard’s introspective harmonic section telling his opinion on the trip to “Tromso”.

Signals EP will be released the 2nd of December on 12” vinyl and we’re more than happy to welcome Goddard to Apparel Music’s family.

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

Soundway have come to their last release of 2019, and they've saved the best till last.

Ft. a 12" single with both sides absolute dancefloor belters, think Latin disco meets parang soca from Barbados (original label from Trinidad/Tobago).

Both tracks - Colleen Grant "Latin Parang", and Sandra Hamilton "Parang Jam" - are not only highly sought after on vinyl, we are also officially reissuing both tracks officially for the first time on vinyl and digital since their original early 1980s releases.

Restored, remastered and sounding as fresh if not fresher than before! Attached are the sales notes, with salient details below.

Shift Imprint release #005 presents some seriously crafted House Music from one of Detroit’s true pioneers, Santonio Echols.
With a record catalog that runs back to 1987, Santonio knows a thing or two about how to make a dance floor sweat!
To complete the release, Amsterdam’s Nathan Surreal delivers his deep interpretation of a track called “The Burner”, and it just feels like the perfect vibe to wrap up this record that Santonio himself considers to be one of his best.

180 grams / vinyl only

Minim Records sixth release brings you a debut EP from a young Ukrainian producer Grec. "Climacool" EP includes two original works that do magic to fuse the original sound of house and electro to bring dance floors to a frenzy, for those unique moments and uncompromised dj sets. Supporting the EP are two stunning remixes by Derek Carr with his timeless sound and TIJN giving it that fresh, groovy and deep sound.

The time of superficiality is over, we need another perspec- tive. The Tableau Vivant, that reenactment of painting by people, offers a new way of looking at things. A look into the depths, into the innermost of the artwork, a liveliness that jumps right out of the picture. Tableau, the project of the Kame House founder Infuso Giallo and Berlin musician Joshua Gottmanns, dedicates its debut »Double Dream Hands« to a new liveliness. While Infuso Giallo delivered a new interpretation of Moog-Exotica with his first release »Ode to Sansevieria«, Joshua Gottmanns is an »old hand« in the business and has proven his songwriting qualities in different projects for more than ten years, most recent- ly in his project Neuzeitliche Bodenbeläge together with Niklas Wandt. But it’s not about the merits of past records, but the here and now, about the moment. This may have passed in the next second and at the same time lasting an eternity. In four live sessions (the term »Jams« may also be applicable), quite independent entities have emerged that embrace life and come into contact with themselves: Within You, Without You. The congenial pairing of these two new masters of (almost) instrumental songwriting features excursions into New Beat and Percussive Exotica as well as Austro-Wave and Electronica and is promising a playful mix of travels at the edge of stasis with a peculiar musical drawl and abrupt, danceable explosions of ecstasy.

Die Orangen back on the adventurous Malka Tuti with their sophomore album ZWEI ORANGEN. It’s been two years since their debut album Zest animated the underground scene, merging obscure samples, field- recordings, krautrock motifs and a spattering of humour and self-perception into their newly forged genre: Krautback. The Australian duo - Kris Baha & Dreems - return with 2 more years of wisdom tucked under their hats to deliver a matured, developed sound. The industrial sonics & propen- sity for a dusty bush-beaten tone remain, however the sam- ples and ambience take a backseat, handing the map over to the guitar riffs, vocals and song writing to navigate the al- bums vast terrain. Collaborators Jono Ma (of Jagwar Ma), Alex Akers (of Forces) and Hayley Morgan expand the al- bum into a diverse journey across zones and styles, offering their own observation of the spacious musical world of Die Orangen. These 11 tracks will make you contemplate, they’ll will make you reminisce, they’ll give you friendly advice, they’ll ask you to dance, and they’ll question the direction of your compass... Fear not, however, this is music for everybody. As the Oranges say "Saft für alle”

Markus Suckut is a well known producer in the techno world, whose releases have found a home on such respected labels as Rekids, Odd Even, Hypercolour or Edit Select to name just a few. Suckut is also the founder of the SCKT imprint. The Düsseldorf producer has been a part of the 'made of CONCRETE' family for some time now and the pair up between the two on 'Voices In My Head' feels like an ideal match.

The title track 'Voices In My Head' may give off a tranquil feel but pay close attention and you’ll hear the psychosis bubbling below the surface. The synth scribbles that underpin the track would get the best of a sane mind in the right setting. '8' follows. It’s a smart, profound cut designed to raise the pressure on the dancefloor. On the flip, 'Drift' comes to life with fantastic mind-bending sweeps. Label bosses Rebar close the EP off on a quasi devotional touch with their rework of 'Voices In My Head'. The pair stays in the deep end with sublime synths and a stripped back rhythmic architecture. It’s a perfect counterpoint to Suckut’s original.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— “The cure 4 pain is in the pain” The Microdosing community is an endless Tibetan geometric tattoo on a thousand backs, a black well opening on infinite space. Let us embrace the void in our lives as it is fruitful. Cooper Saver hails from L.A, a city of fallen angels. “Phase 0” is a demonic weapon of choice, its beauty rising from urban ashes. Borusiade’s “Worlds” is an industrial mantra, tribal rhythms driving you through the seven circles of agony, the voyage being the destination itself. Zillas On Acid’s “S-Test” slowly pours acid into your retina, its groove showing you that the blind are the true see-ers. Scott Fraser’s “Deliria” concludes this chapter with the serenity only known to true martyrs. This is not a soothing piece, just the realisation that peace comes from eternal damnation. Microdosing is happy to lead you through the dances that know no threshold. To the chant of “the only cure for pain is in the pain”, you will travel further through an empty eternity. (Ivan Smagghe)

‘Portuguese electronic alchemist Bruno Silva aka Ondness aka Serpente lands his first ever vinyl release as Ondness on the ever-evolving SOUK imprint. The last year couldn’t have been better for Bruno Silva. Two major releases under his moniker Serpente, “A Noiva” (Tormenta Eléctrica) and “Parada” (Ecstatic) and a Ondness tape, “Not Really Now Not Any More” (Holuzam). “O Meio Que Sumiu” is the first vinyl release by Ondness, following more than a dozen releases on tape, CDRs and digital. He’s also graduating to vinyl on the Discrepant family, after his 2018 tape “Celas Death Squad” combining Serpente and Ondness works as a split.

“Meio Que Sumiu” can be translated as the “community that disappeared” and it alludes to the disappearance of outdoors communities and how it affects the music we listen (and how we listen to it). Ondness wanted to release an album less about himself and his inspirations and more about his aspirations about how dance music could be in an era of constant interactivity and information.

But also, how it fails to be that aspiration. Once again, like in “Not Really Now Not Any More”, Bruno works in the territory of science fiction. Investigating the present and future with nostalgia about how things could be and could evolve.
It’s music in the realm of non- existing, instead of raving nostalgia about dance music from the 1990s, Bruno explores the idea of possible futures with different approaches to dance/electronic music in each song.

In “Meio Que Sumiu” it’s obvious his music has matured and found its listenes. Bruno is no longer a bedroom musician. (He never was, but he sure worked on that idea. And very well, we might say). The dancefloor is now his, with music that explores the deeper immersion of ourselves. Communities may be changing, but the principles of dance music are always the same. Even with motion sickness for future nostalgia, like the music in “Meio Que Sumiu”.

Skyf Connection (pronounced skAyf) was a short lived project by long time friends Anthony Mthembu and Enoch Nondala. At the time they were working for Annic Music, an independent label run by married couple Anne and Nic Blignaut. Although the label was known mostly for Zulu, Sotho, Tsonga and other traditional styles, they had a few Disco releases on the label including groups like Keith Hutchinson’s Focus and Enoch’s discovery Lena, who went on to have huge success under the name Ebony a few years later.

In 1984, when an artist didn’t show up for a booked session they decided to make use of the studio time and began working on a demo. At the time Anthony and Enoch had been playing for a year at a new club called Gamsho, located on a farm on the outskirts of Kliptown Soweto. Along with Blackie Sibisi, Sepate Mokoena and Elijah “chippa” Khumalo they made up the resident house band. Due to cultural boycotts and American artists refusing to perform in the country, locals took it upon themselves to fill the market with the American sound the crowds demanded. The demo they recorded at Blue Tree Studios was going to be their product they could use to promote their brand of the American sound. They then took the demo to Universal Studios where their friend and trusted engineer Jan “fast fingers” Smit was working. It would be here that they would polish their demo into something they could take to their bosses and have pressed. Equipped with a DX 7, Linn Drum and some Juno synthesizers they were on their way. Jan lived up to his name and programmed the drums, it is rumoured he could program in almost real time, a skill that translated to the local arcade where he held high scores on many machines. Enoch would be singing and playing guitar while Anthony would do all the Bass and Keyboards. The result was 4 funky party anthems with synth work like no other recording at the time. Their take on what they believed the crowd would want to hear at the beloved club they called home.

From start to finish the 4 tracks portray what would have been a standard night at the Gamshu. Although the club would open earlier and the standard hours of most clubs was 6 to 6 , the band would start playing at 10pm. With their standard set time and Anthony and Enoch unique view on what a Disco should be, they chose the motto Ten to Ten as the album title because those were the hours when they were the stars and Disco ruled the dance floor. To get to the club was a bit difficult, you needed to drive along an empty road where thieves waited for any patrons trying their luck walking after dark. Since there was no transport during the night, the safest way to get home was to wait till the next morning to walk home. Even though in the summer months of Johannesburg light begins to peek in just after 4am, crowds refused to leave and stayed enjoying good music and company until 10am. The lead off track “Let’s Freak Together” has powerful lyrics encouraging people to let go of their worries, put aside any differences and let the music bring everyone to freak and dance together. The whole album is about the joy we can all feel when we share the same moments and how music can bring people together in a unique way, a philosophy shared with the original nightclubs of 70s New York. This approach to music is where the name Skyf Connection comes from, translating from slang to mean the connection we create through sharing, in this case Music and good times.

Skyf Connection would go on to play at Gamsho till the club’s closure in 1986. In those years their popularity lead to being booked for private events like weddings and birthday parties, as well as gigs in some other venues like Mofolo Hall. They would share the stage with many artists through the years learning artist’s songs and providing support as a backing band. After the club closed Anthony would go on to join the house band at The Pelican, another famous club located in Orlando East, as well as dabbling with songwriting for artists like Phumi Maduna and helping Enoch on many projects through the years. Enoch would ditch live music altogether and immerse himself in studio work, starting full time as a house producer and A&R for the recently formed Ream Music. He would go on to produce hit albums for pop artists like Percy Kay and Makwerhu but made his mark discovering countless artists that would become stars in the traditional market. They would remain friends until Anthony’s passing in 2016 and although Anthony is no longer with us his spirit lives in the grooves he left on this one of a kind record. His wife Vinolia will be accepting his portion of the profits on his behalf.

SIS003 welcomes Boston's deadliest modern wave duo Dead Husband to the SISTERS family across the murky waters of the Northern Atlantic for a host of dance-floor focused workouts.

A mixture of syncopated drum work and reverb drenched arpeggiators define Dead Husbands debut on the label across a capricious collection of tracks/music.

Doug Lee gives Facial Recognition the usual An-i treatment drawing out a monologue of emotion through the sub bass and sweet undulating use of distortion which constantly helps the track and the low end move forward, whilst electro aficionado Privacy offers up his take on the track with a rolling 4x4 composition true to his unique modus operandi, slowed down powerful.

And a remix debut for Papers, 5 years after down tooling from their white label series, they round off the record bridging the Atlantic gap with their distinctly steezey techno sound.

A six-track release, ‘Fun Is Fun’ opens with the infectious, synth-driven title track, with a dub version and ‘Mamacita version’ also making it onto the record. Next up, ‘Dancefloor Anarchy’ is a similarly slick cut, while ‘Kill Your Friends’ is 140bpm and harnesses a killer bassline and unnerving scream sample to devastating effect.

“The title track ‘Fun Is Fun’ is a heavy bassline track, meant as a provocative poem, or as a joke you tell your friends who DJ,” Kessler explains. “When I did this track I was smiling because it’s my message not to take yourself too serious in this business. I think that's a big problem all over this scene.”

Following energetic releases on underground labels such Coméme, Get Physical and Numbers, the Cologne-born DJ, producer and poet’s distinctive sound has helped him grow into one of Germany’s most celebrated electronic artists. He has previously collaborated with the likes of DJs Pareja and Christian S while his music regularly receives club plays from Dixon and other A-league selectors.

TRICK was initially launched as a platform to exhibit Topping’s versatility as a producer, as well as a platform to showcase the wealth of emerging talent which he has been pushing in his DJ sets. Kessler, who played the TRICK launch party at Gateshead’s 4,500 capacity Mainyard venue, will also return to the tour with a set at the series’ upcoming Warehouse Project in Manchester on 8th November.

“I first heard ‘Fun Is Fun’ when Jackmaster was playing it in 2016 and it's become one of the most ID'd tracks online since!” Topping adds. “This was also the first time I’d heard of Bryan Kessler. Since then I've been hammering so much of his music and I'm absolutely buzzing to sign ‘Fun Is Fun’ a few years later as I think it could be an underground anthem. The other three tracks also show how much of a unique talent Bryan is!”

A collection of club-ready heaters, ‘Fun Is Fun’ sees Bryan Kessler craft six cuts with the dancefloor in mind.

For his return to Make Mistakes, Derek Russo ventures into the Belly of the Whale with three pieces of beautiful, retro future, dance floor chic.

Embryonic Speck opens up the record, evoking classic rave beats, in a crisp, clear, modern style. With this cut, Derek has crafted a late-night slayer for the discerning dance floor. A relentless groove drives the track along, creating the hypnotic, smoky dreams of rave’s past.

Night Sea Journey takes it down into disco depths. A wandering bassline swaggers through the track, crashing through dark waves of sound. Sexy and mysterious, made to drag the sweaty sea on the dance floor through the night.

Straddling, a piece of timeless, familiar house music, rounds things out by bringing in a touch more warmth and whimsy. Still for the darkness, but with a lighter mood, and booty wiggle bass. Deep, and grooving, with a playful sexiness, what more could you ask for?

“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.

Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”

― Herman Melville, Moby Dick

Hot off the heels of Aluxes, his 2018 Lumière Noire debut EP, young Mexican DJ/producer Iñigo
Vontier is inviting Chloé's label on a trip to the far corners of the body & mind with an album of
demented grooves, psychedelic take-offs and imaginary comic strips of mystical rituals. A
bewitching debut full-length. Mexicans may never possess the sonic science of the Germans,
the hedonistic madness of the English or the gift for synthesis of the French, but, as proven by
Iñigo Vontier's first full-length for Lumière Noire, their universe is much more exciting than
anyone would have ever thought.
The DJ/producer fully asserts his origins by brandishing the album’s title "El Hijo del Maiz" ("the
son of the corn") almost as an emblem: "in Mexico, corn is eaten daily. It has long been defined
as 'the gold of America', and I consider all Mexicans as children of corn". A spiritual and
embodied vision Iñigo's first Lumière Noire release, the four-track Aluxes, set the tone of the
young talent's distinctive interpretation of dark disco, which creeps up on the dancefloor from its
iconoclastic side. The two tracks and two remixes (one by Flügel, the other by Inigo himself)
featured on the 12" for lead single "Xu Xu" (featuring Red Axes-affiliate Xen's irrelevant vocals)
was a full-bodied confirmation that Vontier sees the dancefloor as an arena for the occult –
whether from the peoples of the equatorial jungle, the Middle East or, even from indocile
machines. But, while the spiritual element seems part and parcel of the Jalisco native’s output, it
is in no way the only ingredient of this first long-player: "this album best reflects my own vision
and spirituality, and the way I feel it" he says.
Whether contemplative or frenetic, the collection of tracks that make up “El Hijo Del Maiz” takes
the kitchen sink and throws it out the window: languid rhythms, haunted vocals, and mysterious
percussion fuel a discombobulated house set that scrambles the listener's five senses, leaving
one disoriented and exposed to the vagaries of vertigo. Following the demented, dystopian “Xu
Xu” EP, which explored an imaginary jungle that harbored Mayan and Egyptian pyramids,
Middle Eastern accents are once more present in the off-kilter “Bo Ni Ke” and its Japaneseinfluenced vocal trickery, which Moroccan flutes à la Jajouka transform into a feverish trance.
With the following three tracks, Iñigo Vontier raises himself to the same level of excellence as
the Pachanga duo (of which pride of the Mexican scene Rebolledo, is also known as a prolific
artisan of deconstruction): “Awaken”'s slumbering voice, heard as through the veil of hypnosis,
slowly introduces a techno beat which, as in follow-up “Time”, literally brings the listener to a
levitative state. In a housier vein, yet continuing in the same psychedelic, 90s-infused spirit,
“Don’t Go Back” disrupts the genre’s usual signatures with an out-of-tune keyboard that is
becoming the artist's trademark, destabilizing the listener into a drunken vertigo, with a good
helping of sexiness: "I think the sexy dimension definitely brings a kind of magic to music," says
Vontier. “I'm sure I felt this magic during my DJ sets, and I like to think that sorcerers use this
element in their practices. I might consider myself a bit of a sorcerer when I take over the DJ
booth, by the way." A mood and sound that can once again be found – in a quieter, more
bucolic version – on “Chiquitita” (feat. the flute stylings of pioneer DJ Rocca, now a partner of
cosmic disco legend Daniele Baldelli). The more cinematic, fast-paced and dreamy beat of the
no less captivating “Little Monster” might evoke the mischievous spirit of the Mayas' minor
mythological creatures, while ode to the magical herb Marijuana (feat Thomass Jackson)
proudly tramples into the debate that such a provocative title inevitably provokes: "psychedelic
drugs are powerful tools to reach a higher level of consciousness about what surrounds us, but
we must learn how to complete this psychic journey by ourselves, notably through meditation
and love.
In the end, El Hijo del Maiz is an album-length confirmation of Iñigo Vontier's uniqueness, and
his adherence to Lumière Noire's policy of letting artists fully express their vision – while letting
their passions guide their idiosyncrasies and explorations of innovative electronic signatures

The teen girl falling in love with greasy biker melodrama that set The Shangri-Las on the scene was beaten to the core when English high society child Lynn Ripley -better known as Twinkle- took it to the next level on her own composition "Terry". Penned at the tender age of sixteen, Twinkle's lyrics were found so twisted and bad tasty that the song got the honour of being banned at the BBC thirteen years before the Sex Pistols ran the same luck with "God Save The Queen." A ban that, as you would have guessed, instead of hiding the song from the era's teenage record hunters made it even more coveted. Thus "Terry", Twinkle's first 45 issued on Decca in October 1964, became an instant top 5 hit in the UK and was released successfully worldwide as well as covered by many bands (like Claude François French version or Los Extraños cover sung in Spanish).



The success of "Terry" encouraged Decca to release other comositions by Twinkle, along with her recordings of songs by other songwriters, in 6 singles and one EP published between 1964 and 1966. Another of Twinkle great tunes, "Golden Lights", was covered by big Twinkle fan Morrissey and The Smiths in their 1986 "Ask" 12" EP.



The 14 songs from the Decca 45s are collected in this fatastic LP, housed in an amazing period style sleeve w/backflaps and including a gatefold insert with photos and first hand told liner notes by Twinkle's own sister Dawn James, a music journalist working for New Musical Express back in the 1960s.



It comes in a limited edition of only 500 copies : if you like sixties girl-pop sounds like those of The Shangri-Las, pop stars like France Gall, singer-songwriters like Margo Guryan and Phil Spector-ish productions you must get your copy of Twinkle's "Golden Lights" before it sells-out!

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

These amazing Brazilian soul-funk nuggets from Renata
Lú, originally appeared on a 7” compacto and on her self-titled debut album for Copacabana Records in 1971.
The up tempo break-beat funk of 'Faz Tanto Tempo’ has a real dance-floor cross-over appeal and should please Brazilian, funk, hip-hop breaks heads and mod-soul DJ’s & collectors alike.
Renata Lú had a long career releasing records on labels such as Compacaban / CID & Continental through out the 70’s and 80’s and worked as backing vocalist on recordings by Tim Maia and Nonato Buzar.

Uptempo funk-soul ’Vou Morar No Teu Sorriso’ is a real favourite of ours and a regular spin in DJ sets. Tough drums, breaks and percussion, big vocals, horns and bass.
Taken from their self-titled LP from 1971.
Dancefloor Samba-funk-MPB business on ’Quem Vai Querer’,
originally released in 1977 on RCA.
A rolling samba groove, layered percussion and a lovely lead vocal from Eliana build into a big chorus and increased drum pressure!

Minimal, elegant and supercharged with latent energy, Cop Envy & DJ Plead’s ‘Hinged’ EP consists of 3 tracks written over the course of two Melbourne summer nights. Luscious drums, sparse melodic elements and midnight-hued atmospheric flourishes are masterfully sequenced for maximum DJ enthrallment and dancefloor enjoyment. The release exudes depth and a natural balance of both artists’ respective styles that belies their long-standing friendship :) :) :) Rounding off a year that saw well-received solo EPs from both Cop Envy and DJ Plead (on Hypercolour and Nervous Horizon, respectively), their collaborative debut ‘Hinged’ will be released digitally and as a limited hand-stamped 12” vinyl on Friday 8 November.

The ninth record on NEW YORK TRAX was written and produced by Deflector, the Brooklyn experimental hardware virtuoso who previously appeared on imprints such as Clan Destine Records or E-Saggila's Summer Isle. "The Living Flesh" is an angry hardcore piece which needs no further elaboration. In Zero RA, Deflector showcases their brilliant frequency manipulation skills in the context of a sarcastic techno track. The B side opens with "skrrt," a dark yet danceable piece filled with intriguing sounds and rattling bass. md34 rounds up the EP with its stripped down heavy industrial sound.

Another exceptional talent has been brewing in the Idle Hands homestead of Bristol for some time now. Daisy Moon has forged strong ties within the creatively bustling city, from her current DJ spots at the ever popular Housework nights, alongside Shanti Celeste, Gramrcy and Golesworthy, her continued work with Bristol's Women In Music group via DJ workshops and industry advice sessions and her former residency alongside Idle Hands founder, Chris Farrell, and Danielle, at the much loved BRSTL nights.

In a sideways step away from the dancefloor, Daisy has prepped a diverse and absorbing EP for the label. Celestial tones and shimmering vocals form the building blocks of 'Geometry Of Curves' whilst 'Halycon' moves at a seductively smooth pace as it combines time stretched vox, sparse yet crunchy beats and plummeting soundscapes to great effect. Deft melodies and woody percussion signature the almost kitsch pop sounds of 'Anemone', whilst EP finale, 'Chambers', locks down ethereal sensations floating on a hefty rhythm, signing off a wonderfully impressive debut release from Daisy for Idle Hands.

Rounding-off a landmark year for Clark which saw an accelerated drive for variety and freshness - including skewed renditions of Bach performed at the Royal Albert Hall and a hugely acclaimed score for TV series ‘Kiri’ - the leftfield legend takes it back to the source with two bangers for the massive.

The riff-powered heavy electrics of ‘Branding Problem’ romp from Detroit to Belgium via Chicago and the M25. It’s platinum-grade dancefloor techno, but it’s more too. The production flair and inventive sound sculpting ensure a level of quality and originality not found in your average grist-for-the-mill DJ fodder.

‘Legacy Pet’ is hardcore and tech step dipped in loopy juice; it’s the sound of a raver wandering out from a cavernous warehouse, across fields and into an enchanted dingily dell dance, throwing gun fingers with the goblins and faeries.

“I’ve been quite amused at how easy it is to stream background music these days. How accessible it all is and how entitled we all feel to it, like it’s some sort of air freshener you spray in your Uber.

For some reason I’m imagining a future where Elon Musk does a streaming deal, so he can prance around controlling nano implant VR chips for 1 million amortal coastal elites, while the rest of us don’t have electricity and only manage one rave a year - to a sound system powered by rationed candles. This is music for that fantasy scenario, ha.

Anyway, I don’t want these 2 tracks to be part of background air freshener world. They are limited edition club gear. I wanna play them out so badly in my live show.

Influences: Hardcore UK rave, Detroit techno, Jungle, Oizo, Ed Rush and Optical, No U-Turn. The origins, the source and it’s constant subsequent mutations. BEHOLD THE CONTINUUM, HARDCORE WILL NEVER DIE.” Clark

Meda Fury are buzzing to welcome Silvestre to the fold for a 6 track EP of low-slung party starters. This Lisbon native and London resident has been on several tastemakers lips for the last year now, serving up no-nonsense but seriously fun dance music, comparable to the spirit of mighty Portuguese scene labels Principe and Naive. Joao’s tracks are mind bending hybrids of breakbeat, reggaeton, R&B, rave and house. His recent artilary coming via Seceretsundaze, Diskotopia and his own Padre Himalaya, he now adds the Yeah EP to his weaponry.

The EP's title track has been the soundbed for the recent Boiler Room Festival 2019 promotional videos, sparking a huge amount of interest and ID requests, its remained secret until now. Add to this another 5 tracks of slow rave-tinted kuduro and faster baile funk blends for a truly monsterous set of club heaters!