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Taken from the forthcoming album ‘Prom Nite’. In a world of beauty school dropouts and jukebox tearjerkers, Eva Lazarus (DJ Vadim, The Nextmen, and a guest on Yoda’s ‘Home Cooking’ album) invites you to come and feel ‘My Energy’. A superlatively soulful slow jam wrapped in stars and stripes, it’s a timeless, lilting breakup song, with Yoda shiftily putting in work on the decks out back. Authentic doo wop straight from a 50s picture show, Lazarus takes centre stage as she leaves a string of devastated would-be suitors in her wake. The new sound of DJ Yoda revisits a golden era of rhythm and blues – going all in on ‘Prom Nite’, his new album of retro Americana and superstar guests continues to expand his musical expertise, with his signature scratches and cut-ups craftily coming into view over Heartbreak Ridge. Cover Art by ENDLESS. Side A: My Energy Side B: Lesson 1956 ft Jamie Cullum & DJ Woody

Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.

Feedbacks:


Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Named after the tendency to impose familiar likenesses, such as faces, on random - usually inanimate - objects, Pareidolia is Jake Muir's way of interpreting the consonances between so-called “ambient” music and extreme heavy metal. Extracting the headiest, most atmospheric sections from hundreds of death metal and black metal tracks, Muir plays the role of both DJ and electroacoustic composer, concocting a lysergic elixir of fractal distortions and prolonged, decelerated riffs that slowly evaporates into iridescent vapor. If there's any trace of the original sources left, Muir makes sure that residue is subtly bewildering, like clouds in the sky that form imposing, larger than life images, or trampled bracken that falls into the shape of “trve kvlt” insignia.

The idea for the album materialized when Muir was working on 2022's Talisman, his collaborative album with multi-instrumentalist Evan Caminiti. Processing guitar for the first time, Muir began to unpack his long relationship with rock music and its Escher-like maze of sub-genres, from the tech metal he obsessed over as a teenager to Loop and Main's drone-y, textured variants. Scraping the internet for unconventional contemporary metal albums, he stumbled across music that seemed to hover between different realms, merging its frenetic, noisy sections with psychedelic interludes that harmonize with classic industrial and avant-garde music, material like :zoviet*france:, Nocturnal Emissions and Z'EV.

The third release on Pan Records comes from BRS (British Rhythm Services), a UK deep house production collective active since 2000. They first appeared on the Parisian label Cyclo Records and quickly followed up with releases on Imperial Dub (San Francisco) and Leeds-based 20/20 Vision.

Throughout the 2000s, BRS — originally formed by Ben Vacara, Robert Evans and Mr. Mulatto — built a strong reputation for quality deep house. In 2001 they launched their own imprint, Friends & Families, while their music also appeared on major labels and compilations including Café del Mar, Ministry of Sound, Paper Recordings, Peng, Late Night Tales and React.

Over the years the project evolved, with core members Ben Vacara (also known as Frank Situation) and Mr. Mulatto continuing at the forefront, joined by musicians such as Dom Thompson, Phil “Dr. Keys” Campbell and James Payne. In 2019, BRS saw a new wave of reissues and fresh material on Cyclo, Wolf Music, Pressed For Time and their own label, Situationism.

Still active as producers and DJs, BRS have now been shaping UK deep house for over 25 years.

Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.

Rosa Brunello returns with Reworks, a 5-track EP featuring new reinterpretations of music from her acclaimed and now out-of-press albums Sounds Like Freedom (2022) and Senseless Acts Of Love (2024). Following recent highlights including the Women In Jazz Compilation, Gilles Peterson’s Brownswood Basement and a sold-out Ronnie Scott’s show, Brunello invites a diverse group of collaborators to reshape her bass-driven compositions across jazz, dub and electronic forms. Featuring reworks by Eva Geist, Khalab, Neil Bopperson, Paolo Baldini and Joe Christensen (DJ Stepmom / King Pari), Reworks bridges contemporary jazz and forward-thinking club music. Released on limited 12” vinyl and digitally via Domanda Music.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

A snapshot of UK tech house in its formative years, OLC002 finds Rob Pearson laying down the blueprint for a sound he’d continue to refine through Evasive Records. Released on Online Collective—the label arm of South London’s Online Studios—this EP captures a raw, forward-facing moment in underground dance music.

The title track Slipstream leads with intent: tight tech drums ride alongside a chopped breakbeat groove, underpinned by weighty sub bass and warped melodic textures. A fluid lead synth drives the track forward, locking into a hypnotic, evolving flow built for the dancefloor.

Vortex channels early Detroit techno through a South London lens—crisp edits, filtered drum machine rhythms, and a hypnotic vocal loop combine for a stripped, late-night roller with serious intent.

On Metaphor, Pearson taps into the spirit of early bleep and warehouse house, fusing it with late ‘90s tech house sensibilities—raw, swung, and deeply functional.

The Metaphor (Bonus Beats) rounds things off as a pure DJ tool, primed for layering and extended blends.

A sharp, authentic document of a pivotal era, Slipstream EP showcases Pearson’s early command of groove, texture, and dancefloor dynamics.

In a fusion of science and sound, Kalocain's debut vinyl release, "Genetic Memory," unfolds an eerie tale. "W.N.G." opens a portal to an ancient world, where forgotten tongues unveil cryptic secrets. "Genetic Memory" weaves ethereal connections between ancestral recollections and the present, warping the fabric of time. "Ivermectin" delves into the surreal realms of molecular melodies, as if sonic DNA deciphers sound's enigmas. Remixes from Normal 4, Patricia Kokett, and Jacques Satre reshape the auditory cosmos with a dash of the bizarre.

To amplify the weirdness, Evaldas Bubinas aka Hermandrowning, concocts mind-bending artwork, beckoning listeners into a realm where sound and art meld in uncanny harmony.

But that's not all! The digital copy unveils an additional original track, "Groove Drift," along with a wild array of remixes by Henry Greenleaf, Frankfurt Bass, and Dogpatrol.

"Genetic Memory" isn't just music; it's a transcendent odyssey blending the past, present, and the surreal future, with a digital twist that will leave you questioning the boundaries of sonic exploration.

The second release from PAN Records comes from Magnus Asberg, aka C-Soul. The French-based DJ and Producer fron Sweden, known for his innovative sound, has previously released music on labels such as Robsoul, Evasive, DiY Disc, Real Deal Records, Romana records and On the House Records.

This EP features four original tracks produced by Magnus Asberg in the early 2000s. It’s remarkable how music created years ago still sounds fresh and innovative today. Characterized by deep basslines, house grooves, hypnotic yet simple vocals, and rich melodies, the EP feels both new and timeless. It carries the charm of old-school music while embracing the essence of underground house from an era when music was created with a purity that remains at the heart of PAN Records' philosophy.

360 mcn white-white light cardboard paper / one side only hand plasticization / 2 separated parts prints / hand gluing / PVC outers / original artwork / gatefold sleeve / Bandcamp limited edition 30x60 cm insert with extended liner notes by Tony Higgins and Interview with Babs Robert and Sébastien Gorlé with exclusive pictures and self-portrait by Babs Robert himself printed on GF Smith "Takeo Tant Select" Canvas Paper tip-on left jacket panel / Exclusive never released Memorabilia from Babs Robert's vault.

Personnel:
Babs Robert - alt sax, tenor-sax, electric tenor-sax, Bin Recorder, Acme siren, Chinese-bell, sleigh-bells, maracas, tambourine,hand-rattle,claves)
John Van Rymenant - baritone-sax, fluegelhorn, Bala, tambourine, sleight-bells, cowbell, triangle, claves
Johnny Peret - vibes, bongo's, cowbell, maracas, castanets, rattle-snakes, tambourine, drums, woodclock, trinagle
Johnny Brouwers - piano, prepared-piano, triangle, cowbell, sleigh-bells, maracas, caves,hand-rattle, guiro, woodblock, tambourine
Paul Dubois - bass, triangle, cowbell, claves, rattlesnakes, hand-rattle, woodblock, tambourine
Michel Gobbe - bass,Chinese-bell, claves
Robert Pernet - drum, tambourine, seven-notes M'Bichi, guiro, alarm-siren, home-made metal xylophone, African telephone-drum, triangle, sleigh-bells, Siku

Notes:
Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reinhardt, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

The Love Planet performed in the main clubs of Brussels, such as Blue Note, Pol's Jazz Place, and Smog as well as in major musical events throughout Belgium including to big festivals in 1969 - the Avant-Garde Festival in Ghent and the First International Jazz Event in Liege – where the Love Planet shared the bill with Miles Davis - and the Bilzen Jazz Festival in 1970. The contrast between the musical architecture of the themes and sonic freedom in the improvised playing perfectly illustrated the polymorphism – an order within disorder – which the Love Planet aimed for.

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (dru- ms). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion. This is the first official re-release
of the 'Babs Robert and the Love Planet'. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resona- tes some fifty years later. Come with us to the Love Planet. (Tony Higgins)

Emotional Especial returns to the music of Peter Reilly aka Persian, with a second EP diving into his extensive catalogue to celebrate this cult artist and evaluate his recent decision to retire from music production.

For over 20 years Reilly has been an exemplary electronic producer, a producer’s producer, a DJs producer, releasing over 50 EPs that crossed genres, from Breaks to Digidub, Electro to Garage, House to Jungle and on and on.

If this release is to act as an epitaph, then its exploration of Reilly’s wonderful programming, sampling and understanding of emotions is laid bare. Spread across a series of self-released edits hidden within limited run EPs, Questions appeared as something akin to beats interludes, across numerous releases over the last 10 years.

Bringing the best versions together on one EP, Questions 1, 2, 5, 3 and 7 have been re-edited, extended and sequenced into a continuous mix especially for this finale. Starting with the ambient breaks of Questions 1, this is a Balearic beginning where bubbling acid meets haunting refrain, before segueing effortlessly into the sunrise breaks of Questions 2. A nod to Carl Craig’s classic Incognito remix, the solo keys add a touch of jazz to a glide by shooting melody.

Side 2 rises. Question 5 heralds a half stepper Dub bassline riding the Amen breaks, the now familiar Brando sample, a wormhole in your brain that ties the EP together, joining the dots as strings float skywards, allowing Questions 3 break it all back down. Herbie Handcock inspired Funk Boogie beat, shouts out to his own Existence To Resistance label, leads to the pure ambient closing of Questions 7. A showcase again of Persian’s multi-genre dexterity and maybe, just maybe brings an influential music chapter to a close.

The sixth release on Fear No System: our first vinyl release by New Zealand-based musician, synth warper, and drum creator Go Nuclear, delivering an EP filled with nasty booty beats, featuring renowned producer and beat creator Detroit's Filthiest (AKA DJ Nasty).


The four-track EP includes remixes from Raw Takes, the creator of the NO SERVICE label, straight from LA; acid master Wheez-ie; and DJ/Producer Aura T-09, co-owner of Evar Records.



Artwork: Bazukka & Mariam Kantaria
Mastering: Incision Mastering

Biomontana is just another moniker of the succesful duo formed by bassist Flavio Gemma and Massimiliano Bocchio (Urbanatribù). Based in Alessandria and devoted to all kinds of electronic wizardry, Biomontana, compared to Urbanatribù, is more related to their Progressive/Goa side. According to the artist, both records were only released as 2 different promo eps for just a few djs that were playing in the Indian state. As in the best "Goa tradition" the record had, on the flip side, a great slow tempo and acid infused number. Unfortunately the projects never had an official distribution until nowadays.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

"LATZFONSER KREUZ / FELTUNER HÜTTE scheduled for release on September 20th 2024 is the third single to be lifted from Ulrich Troyer's TRANSIT TRIBE due later this year.

Mamadou Diabate, originally from Burkina-Faso and now resident in Vienna, who is also a world-famous virtuoso balaphon player, collaborates on "Latzfonser Kreuz" with fellow countryman Hamidou Koita to produce a remarkable percussion track, both singing and employing talking drum and djembe to come up with a sound that can only be described as dubbed-out Nyahbinghi-style electro-beats! The track references the little church at Latzfonser Kreuz, which is the highest pilgrimage spot in South Tyrol, one of the highest in Europe; every year in June, the Black Lord, a black carved Gothic wooden cross, is brought from the village church in Latzfons to thepilgrimage church, where it remains throughout the summer.

On the flip for "Feltuner Hütte" Ulrich Troyer is joined by co-producer Osman Murat Ertel, founding member of the electro-psych-folk group Baba Zula from Istanbul, who has worked internationally for many years collaborating with the likes of Jaki Liebezeit, Fred Frith and Mad Professor. But here Murat takes us on a dub psych-out trip with his favoured electric saz, with wha wha FX, delay and echo, like Link Wray meeting King Tubby on the old streets of Istanbul."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023, now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Mamadou Diabate: vocals (A) & talking drum (A)

Osman Murat Ertel: electric saz (B)

Hamidou Koita: vocals (A), djembe (A)

Didi Kern: percussion (A), drums (B)

Flip Philipp: percussion (B)

Ulrich Troyer: analog synthesizers & drum-machines, sampler, field recordings, dub effects (A+B)

A written by Mamadou Diabate, Hamidou Koita & Ulrich Troyer

B written by Osman Murat Ertel & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except electro saz on track B recorded by Osman Murat Ertel at Saniki Studio, Istanbul

Mixed & arranged by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer

Special thanks to Steve Barker, Mamadou Diabate, Osman Murat Ertel, Diggory Kenrick, Eva Kelety, Didi Kern, Hamidou Koita and Flip Philipp

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT

"Following on from May's "ECHOES Part 1 & 2" this is the second single of three to be released as an introduction to the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

This time it's one for the reggae fans and dubheads with contributions from Diggory Kenrick who has been busy over the last few years adding the distinctive sound of his flute to many new reggae productions. He is also an associate of the U.K. reggae label Pressure Sounds that specialises in reviving classic sounds from the roots and dancehall eras of the genre. Also joining the production is Takafumi Noda aka Mystica Tribe, a Japanese producer and musician who has specialised in a new form of dub techno and is known for adding the signature sound of his melodica to productions of dub friends from around the world.

The subject of travel, especially along modern, fast routes has long been subject to fascinate musicians, from the days of Kraftwerk's "Autobahn" and now the whole genre of dub techno seems to be one built for listening on long journeys. The Autostrada Del Brennero / Brennerautobahn is one of the most important motorways in Italy, as it connects the Po Valley with Austria through the Brenner Pass and features many modern bridges and overpasses that are ready built illustrations for the covers of dub techno albums! On this release this major European truck route is celebrated musically by Ulrich Troyer with inputs from Diggory and Taka to create two modern dub classics."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)


Credits:

Diggory Kenrick: flute

Taka Noda: melodica

Didi Kern: drums

Ulrich Troyer: analog synthesizers, analog drum-machines, sampler, dub effects

A written by Diggory Kenrick & Ulrich Troyer

B written by Taka Noda & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except flute recorded by Diggory Kenrick at Holloway Studio, London / melodica recorded by Taka Noda at Mystica Sound Studio, Tokio

Mixed & arranged by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer


Special thanks to Steve Barker, Osman Murat Ertel, Diggory Kenrick, Eva Kelety and Takafumi Noda

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Fuelled by the Berlin-based duo's love of club music in all its forms ''FJAAK THE SYSTEM'' is FJAAK's most definitive album to date, a winding sonic odyssey that surveys the rave landscape, dipping between frantic euphoria and deep contemplation. Featuring sizzling collaborations with Modeselektor, Skee Mask, Red Eye and J.Manuel, the album draws a bold line under FJAAK's 15 years of mischief and mayhem, pulling together 23 tracks (culled from over 300, no less) that truly reflect the duo's boundless enthusiasm for the dancefloor. Grazing UK breakbeat, techno, 2-step, d'n'b, jungle, trip-hop and ambient, these elasticated, hybrid bangers paint a vivid picture of FJAAK's utopian club ideal, a place where genre boundaries evaporate and only the groove remains. Since graduating in audio engineering in the early 2010s, FJAAK have been challenging the logic of a maddeningly conservative club scene with their hardware only live shows, DJ sets a myriad of record releases. In 2019 they launched the label and platform Spandau20 with a steady flow of records and a mixtape series featuring new talent and established artists. With their rebellious attitude and notoriously energetic live sets, the duo have brought back a crucial lost ingredient to the rave: playfulness. And if their well-loved albums 'FJAAK', released on Modeselektor's Monkeytown imprint, and 'Havel' set the scene, 'FJAAK THE SYSTEM' rises above and beyond expectations, creating a new benchmark. It's not just blood, sweat and tears either, FJAAK's advanced technical knowhow and love of synthesizers and drum machines helps them formulate a sound that's conscious of dance music history, but focused on a brighter, more equitable future. Their second single 'And You Feel' is an emotional rollercoaster combining UK breakbeat with a dubstep-influenced bassline wobler and alluring vocals, emulating the moment the mind becomes a tranquil void through the crescendo of adrenaline like a strain of physical exertion. This is reflected on their new music video which shows an unexpected ''rage room'' scene.

Die Reloop Premium Headphone Bag XT wurde mit dem Fokus auf Funktionalität und Schutz entwickelt und vereint ein schlankes, robustes Äußeres mit cleveren Features. Das praktische Transport-Case bietet Platz für die gängigsten DJ-Kopfhörer und sorgt für sicheren Halt unterwegs.

Die Reloop Premium Headphone Bag XT besteht aus strapazierfähigem Durashock-EVA-Schaumstoff und ist mit einer robusten Polyesterhülle ausgestattet, um den Kopfhörer vor üblichen Reisegefahren wie Stößen, Flüssigkeiten, Schmutz und Staub zu schützen.

Die Reisetasche ist mit einem praktischen Tragegriff und einem Karabinerhaken zur einfachen Befestigung am Gepäck ausgestattet. Ein verstellbarer und abnehmbarer Schultergurt bietet zusätzlichen Tragekomfort. Eine Netztasche im Inneren hilft, Kabel und Zubehör zu organisieren. Die robusten Reißverschlüsse sind so konstruiert, dass sie den täglichen Belastungen standhalten.

Cristiano Grim produced Parisian multi-instrumentalist DJ SOLANGE for the second release on his sub label FINALE RECORDS.

DJ SOLANGE runs Radio Belleville, certainly themost vivid underground project in Paris not only for the obscurity of the program, because of its location: a deep cave under the classic Belleville neighborhood of Paris, a few steps away from the Cemetery of Pere Lachaise.

The EP has been recorded down to the center of the earth in 2019, right before the fall of the world. A journey into the idiosyncratic bond between dreams and frustration.

Oneiric, evanescent, rough (Fruste in french), dark, claustrophobic, morose, sexy, improv, lost: like a dream, it ends only when you open your eyes.

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.

Following the success of the last Parquet Most Wanted EP´s, here comes the 17th volume with four gorgeous melodic-techno anthems by SOLEE, SEVERAL DEFINITIONS, RINZEN & EVAN CASEY, HOLLT!

These tracks already received big international DJ support by Solomun, Tale of Us, Victor Ruiz, John Digweed, Fideles, Format B, Bebetta, Chicola, Moonbootica, Mees Salome, Hidden Empire and many more.

Lee Humphreys and Evasive head honcho Rob Pearson returned to the imprint for their 2nd EP together as Lovable Rogues. This followed on from their first collaboration which launched Evasive Records : Look Into Your Eyes / Chica / Twilight Manouvres (EVA001)

For this Ep Rob travelled out to work with Lee in the depths of the German countryside at Lee’s Tofu Studios. EVA003 delivered 3 more tasty underground cuts for main floors and urban warehouse spaces and pleased all the right DJ movers and shakers in the year 2000. It now finds favour in 2024 with Tech House connoisseurs hungry for that early South London Tech sound.

Time Zones delivers some peak time twisted year 2k Tech. Swirling ear candy synths and tripped out almost acidic twangs are the order of the day. A head nodding bass combines with the filtered and sample triggered vocal phrase ‘Eternal Energy Music’. As if the production pair were indeed clairvoyants able to look ahead and prophesize the future state of underground dance floors some 20 years later! This cut has since become a classic requested early noughties gem for those in the know.

On ‘Integer’ Lee Humphreys rides solo to showcase his unique talent and slick production sound. Driving filtered percussion elements and an infectious bass combine with ‘Body Grooving’ vocal cuts and eerie reverse synths and sounds. Lee basically hit this track out of the park here so Rob had no choice but to request this cut and it was snapped up for the EP.

‘Thursday’ see’s Rob & Lee back on the joint production for some Tech Funk shenanigans that are ‘sure to get you high’. Not sure what Mr Humphreys was on to allow Rob to play the lead keyboard solo on this funk fuelled excursion but it stills sounds fresh over 2 decades later.! A very different vibe that has not been equalled or surpassed on Evasive since.

Bob Stanley’s latest compilation “Wednesday Morning 6AM” literally turns back the clocks.

In the late 70s and early 80s, there was a parallel world of hits that people only heard when their clock radio went off. BBC Radio 2 had little time for the Top 40 music played by Radio 1 and beamed into living rooms by Top Of The Pops. Radio 2 effectively created a chart of its own playing singles or album tracks that their DJs enjoyed and wanted to share with their listeners. These tracks were given multiple plays on rotation and became earworms for millions of listeners.

“Wednesday Morning 6AM” is the warming soundtrack of eating breakfast or driving to school or to work in the cold and dark early hours to the sound of Art Garfunkel’s ‘99 Miles From LA’, Dolly Parton’s ‘The Bargain Store’, Hoyt Axton’s ‘Evangelina’, Paul Simon’s ‘Train In The Distance’ and Air Supply’s ‘Lost In Love’.
Other featured artists include Gilbert O’Sullivan, Crystal Gayle, Carly Simon, John Denver, Lou Rawls, Lindisfarne, Bob James, Stella Parton and Dionne Warwick.
The 2-LP version includes the bonus track ‘Danny’s Song’ by Anne Murray.

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

Portraits at the Penthouse: Live in Seattle ist die erste offizielle Veröffentlichung des großartigen Pianisten Bill Evans, aufgenommen live im Penthouse Jazzclub in Seattle, Washington, am 12. und 19. Mai 1966 mit dem Bassisten Eddie Gomez und dem Schlagzeuger Joe Hunt.

Dies ist die achte offizielle Veröffentlichung von Resonance in Zusammenarbeit mit dem Bill Evans Estate und wurde ursprünglich vom Radio-DJ Jim Wilke für den Radiosender KING-FM aufgenommen.

2025 Repress!

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something legendary hip hop producers The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

An ambient journey reflecting on friendship, the British landscape - and The KLF’s landmark album Chill Out

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

Local Action is proud to present Daughters, the debut album by Jennifer Walton.

Walton is a beloved figure across various sectors of the alternative music underground. Outside of her own music and soundtrack work, she has been a live drummer for Kero Kero Bonito, collaborates with Sarah Midori Perry on the pair’s Cryalot project, has remixed Metronomy and worked with Iceboy Violet, BABii and more. She also makes music and DJs with close friends aya and 96 Back under the name Microplastics, and recently contributed to London collective caroline’s acclaimed caroline 2 album.

The first seeds of Walton’s debut album were sowed during touring North America in 2018, where whilst ticking off life-long music goals, Walton’s father was dying of cancer. Grief is a constant presence throughout Daughters, and specifically the surreal nature of having to process it amongst a blur of airports, flight connections, hotel rooms and battles for stolen medication with the American healthcare system. Strip malls, drug deals, panic attacks; the artificiality of downtown American city districts dovetailing with reality in its most brutal form. Miss America for a day while life is changed forever.

Weaving between real life diary entries, travelogue-style storytelling, imagery that ranges from mechanical to religious and a scattering of fiction (though we are obliged to mention that ‘Shelly’ is based on a true story), Daughters climaxes with the staggering run of ‘Saints’, ‘Miss America’ and its title track. Sampling unattended machines harmonising bleeps into the void in a London hospital ward, ‘Saints’ narrates Walton taking her father to and from cancer research trials, “sat, hunched and sick in the concourse as minutes became hours”. And to be very real for a moment, Jen is a friend, and first hearing the ‘Miss America’ demo is up there with the most emotional moments we’ve had in 15 years of running this record label.

Finished in London across the second half of 2024, Daughters features musical contributions from some of the closest friends and collaborators that Walton has made in her time as a musician: aya (who also mixed the album), Daniel S. Evans, Joshua Barfood and Nick Granata (all of Shovel Dance), Alex McKenzie (of caroline and Shovel Dance), Aga Ujma and Bob Lockwood.

Amsterdam label Spectral Bounce recruits French club stalwart Chris Carrier for SPEC06 — Perfect Encounter. Active since 1994, the Parisian artist has released a wellspring of records on Robsoul, Slapfunk and his own Sound Carrier recordings, parallel to his longtime career as a DJ. Characterised by swirling delays and progressive arrangements, Perfect Encounter shows the producer exploring the mesmeric corners of tech house, ideally fitted to the Spectral Bounce aesthetic.

Opener “XLR8” starts with rolling toms that make way for fluid, modulated tones; each bar ebbs and flows to the sweeping synths set in motion by Carrier. Processed with a multitude of delays, rhythmic FX boldly swish above the drums, making for an immersive soundstage. Second track “Light Side” retains the billowing echoes but moves more nimbly, cutting things back to make for a spacious and breezy number. Its croaking synths hop around the stereo field, accompanied by tight percussion and a walking bassline.

The hallucinogenic “Third Moon” sees Carrier step further into trance-inducing territory. The track’s pulsing, syncopated bass note thrums underneath an arpeggio that evolves into a heady prismatic drone. While the chugging beat is ever-present, melodic refrains rise up and evaporate like wisps of vapour, alongside a vocal that fades away as quickly as it appears. The EP’s eponymous “Perfect Encounter” dials up the tension and closes the record with a mysterious touch. Speedy 16th note patterns propel the beat, creating shifty rhythms that rattle and hiss. A rasping, gelatinous synth and squeaky detuned tones resemble extraterrestrial signals — alien morse code for an enraptured dancefloor.

Credits:

Nobukazu Takemura"s music is singular in its ability to create a musical sense of childlike wonder and curiosity, with gracefully executed yet complex compositions. His pieces embody an innocence and the intricacies of self discovery that every human is faced with as their worlds become more complex. An acclaimed producer and composer, Takemura is known for his idiosyncratic music and video artistry as well as his prolific collaborations including those with Tortoise, Yo La Tengo, DJ Spooky and Steve Reich. knot of meanings, Takemura"s first proper album in a decade, finds the Japanese artist wrestling with the rise of technological influence on art and culture in the modern era, in tandem with his own relationship to religion, and where those struggles meet. Like the colorful, irregularly shaped glasses on the cover, the album is a mosaic of technicolor elements that come together to form a complete picture, a dense portrait of interconnected struggles and triumphs.

Anthems (ultimate Singles Collected) is an album by Armin Van Buuren, released in 2023. Anthems (ultimate Singles Collected) includes a.o. the following tracks: “This Is What It Feels Like (feat. Trevor Guthrie)”, “Not Giving Up On Love (vs Sophie Ellis-Bextor)”, “We Are Here To Make Some Noise”, “Communication” and more. The album is a Coloured Vinyl, High Quality, Insert trance 2-LP.

Woo, formed in 1975 by brothers Mark and Clive Ives in London, is known for its experimental blend of folk, jazz, ambient, and electronic music. Their sound, characterised by the delicate integration of acoustic and electronic elements, has earned them recognition in ambient and healing music spheres. Over decades, the duo has produced over 1,500 tracks, evolving a unique style that evokes dream-like atmospheres and a meditative, soothing quality perfect for moments of reflection.

Dedicated to intertwining the serene beauty of music with the nurturing process of planting seeds when the first new signs of life emerge in the growing season. A carefully crafted collection of ambient & minimalist soundscapes, occasionally branching into the new age. A soundtrack for quiet moments of sowing, nurturing, & witnessing the slow reward of growth.

Each artist will release a recycled cassette and digital format. We plan to release one cassette each month from November through June, aligning our releases with the ideal growing period. Each physical release will precede its digital counterpart by a few months, allowing the music to be experienced in its intended form first, with the tangible connection of a cassette and seeds before becoming accessible to a broader audience in the online sphere. This staggered release allows listeners to engage with the music more profoundly and intentionally, akin to the patience and care required in gardening. Best get that portable cassette player on eBay!

Each release will serve as a soundtrack to quiet moments of sowing, nurturing, and witnessing the slow, rewarding growth process, both in plants and in the listeners' lives. Whether tending to a window sill garden or simply seeking a peaceful retreat in sound, "Music to Watch Seeds Grow By" is an invitation to pause, listen, and cultivate.

Early DJ support including Tom Ravenscroft, Deb Grant, Vladimir Ivkovic,Ruf Dug, Eva Geist, Domenic Cappello, Fergus Clarke & Sofie K.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.