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“Spirit Chaser” by DJ Life. Berlin-based, aus producer slips back onto the label through Jupiter’s Depth, landing his first full solo EP with us — almost 7 years on from his first appearance on Neptune Discs.
After a run of VA appearances here, alongside standout releases on X-Kalay and Craigie Knowes — this lands as the third on the sub. Weighty baselines, fleeting vocal fragments, lush chords from elsewhere. All slightly off-centre, in a good way.
4 pattern-led trax, percussion up front — an undulating gem.

Josiah aka JdB is a key creative at the heart of the New Palm crew. Not only does he DJ and produce, but also he is a resident at Gradient Campout and a member of LA's PrintShop collective. He has a sound rooted in dubby drums and cavernous grooves, both of which are evident here. 'Feels Good' is a heavy warm-up sound with sparse chords slowly ramping things up, while 'Surface Area' is icy minimalism with abstract sines and FX. 'Come Over' pulls back to a more liquid dub roller and 'Dante Is Late' is an ambient soundscape with plenty of tape hiss and curious melodies drawing you in deep. Stefan Bitke of Scape has taken care of the mastering so these sound superb.

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

New Digital Fidelity steps up with his ‘For The People’ EP on Four Framed Music this september, delivering four standout original cuts that showcase his deep, groove-driven signature sound.

Paolo Aniello aka New Digital Fidelity is a London-based producer and DJ originally from Bari, Italy. Deeply rooted in deep and Detroit house, he made his vinyl debut in 2011 as Peter JD and later co-founded a Detroit techno label with Nico Lahs. Since launching NDF in 2017, he’s released on Snuff Trax, Moods & Grooves, and more, collaborating with artists like Chez Damier, Fred P, and Byron the Aquarius. His music has been featured on HÖR, Balamii, Rinse FM, and NTS. In 2023, he founded Scopic Records, home to his latest EPs and remixes for legends like Hanna.

With For The People, New Digital Fidelity delivers a timeless EP packed with soulful house grooves and club-driven energy. The A-side opens with Believe It, an uplifting house track full of character, driven by a snappy groove and a powerful vocal sample that pulls you straight into the vibe. A soulful statement that sets the tone from the get-go. Next up is In Love With You, a deep and sultry roller where a sensual vocal meets delicate melodic layers. This one breathes emotion and late-night intimacy, perfect for the more introspective moments in a set.

On the B-side, the EP shifts clearly into more club-focused territory. Move Your Body is a straight-up floorfiller with crisp percussion, a hypnotic bassline, and a stripped-back vocal hook that sticks with you. Finally, Step Up closes the record with punch and attitude, a raw groove laced with jackin’ energy, making it the perfect tool for peak-time or late-night sessions.

Dave Davis, a legendary name in Belgian electronic music, made his mark with classics on Bonzai Records, including the iconic "Transfiguration." Known worldwide for his DJ sets and as a vocalist under the alias JD Davis (Chab’s "Closer to Me," David Guetta’s "The World Is Mine"), he now teams up with ID10-T, a Swiss producer making waves with his raw, no-compromise techno style.

This release features two tracks crafted for peak-time dancefloors:

• "Insane": A dark, powerful underground techno bomb with deep basslines, sharp textures, and relentless energy. Built to shake the walls and ignite the crowd.
• "RDH": A groovy jackin’ techno weapon, combining bouncy bass, funky patterns, and infectious rhythms. A fresh yet respectful nod to classic techno foundations.

With this electrifying collaboration, Vibes Addikt continues to push boundaries, showcasing a cross-generational vision that fuses rave culture heritage with modern sound design.

Français

Vibes Addikt, le label de N.O.B.A reconnu pour sa ligne artistique mêlant techno et trance de manière percutante et novatrice, présente sa nouvelle sortie : un single explosif signé Dave Davis & ID10-T.

Dave Davis, figure incontournable de la scène électronique belge, connu pour ses classiques sur Bonzai Records — notamment l’intemporel "Transfiguration" — et pour ses prestations aux quatre coins du globe, s’associe ici au producteur suisse ID10-T, talent émergent dont le style se distingue par une techno brute, percutante et sans concession. Dave Davis est également connu sous son alias JD Davis, voix emblématique de titres cultes tels que "Closer to Me" de Chab ou "The World Is Mine" de David Guetta.

Ce single comprend deux titres taillés pour les dancefloors les plus exigeants :

• "Insane" : Un banger techno underground, sombre et puissant, construit pour retourner les clubs à coups de basses profondes, de textures métalliques et d'une tension hypnotique. Ce morceau capte l’essence même de la rave moderne : brut, direct, sans artifice.
• "RDH" : Une véritable arme jackin’ techno, groovy et irrésistible, mêlant rythmiques incisives, bassline bondissante et arrangements funky, qui captiveront autant les puristes que les amateurs de sonorités plus organiques. Un hommage contemporain aux racines du genre, avec une touche résolument actuelle.

Cette sortie marque une nouvelle étape dans l'évolution de Vibes Addikt, toujours en quête de projets audacieux et authentiques. Avec cette collaboration intergénérationnelle, le label affirme une fois de plus son engagement envers une techno de caractère, entre héritage rave et innovation sonore.

Define: Global Bass Culture. What initially started out as a remix request from the South African Sneja Recordings label for a tune written by Colombian artist Juan Diego Pedroza a.k.a. Iam JDP ended up as the second limited edition vinyl release on the German underground label Freebreakz.FWD. Embracing influences from Chicago's Footwork x Juke sound as well as UK Bass Music, IDM and other electronic subcultures Sascha Müller and baze.djunkiii deliver a sparse, tense and wildly hypnotic take on the 160 bpm freeform movement, continously fusing and layering intermingling rhythmic patterns with ethereal vocal snippets, Trap- and Drill-infused hi-hats, an ever floating minimalist synth motif and deadly low end attacks for some of the most advanced dancefloors out there. This is crime scene music. Mastered by Frederic Stader.

Slush Records are back for their second outing, remastering and rereleasing Sedona’s highly sought-after 1995 track, ‘Pulsation’. A portal to the underground of the ‘90s, Sedona’s original mixes and the remix from Robert Vaughan, fuse progressive house, trance and breakbeat, each oscillating to their own unique frequency. Not stopping there, Slush Records enlist the expertise of Seoul-born, Amsterdam-based Naone for a mesmerising new remix that harnesses all of that early ‘90s energy, with a fresh dynamism.

The story of Sedona begins with Dale Charles and Benny Blanco. As a touring DJ and buyer at Boston Beat Records in the mid ‘90s, Dale Charles was in diggers paradise. Freestyle was big business at the time and as a progressive house and breaks DJ, Dale couldn’t help but notice how good the drum programming was on some of the tracks. He spent endless hours trawling through the shops near 10,000 freestyle records, hoping to find that elusive secret weapon.

One day Dale found the break he was searching for and took it to Benny’s studio. Benny was an aspiring DJ and, more crucially, a producer with a conveniently concreted basement apartment he was slowly filling with synths, samplers and drum machines. Sampling and chopping up this gem of a break, utilising two TB-303’s that Benny recorded live for the acid lines and creating that signature throbbing arp on a Roland JD-800, the basis of ‘Pulsation’ was born.

The duo created a series of different mixes to tweak the feeling of the track. The ‘Ascending Mix’ and ‘Sinister Mix’ bookend this reissue. The former, a club-focussed cut with subtle to squelching 303 lines, rumbling sub bass frequencies and pulsating arps that anchor the track, as the sacred drum break fires your brain into trance-infused euphoria. The latter, an ominous slice of teleportational ambient electronica, sucking you into a wormhole of galactic synthesis and dream-state harps.

The first of the remixes sees Slush draft in the progressive wizardry of Naone to provide a fresh new take on the track. Leaning into the otherworldly ‘90s atmosphere of the original, Naone radiates the pulsating theme through swelling synth stabs and a driving acid bassline. Switching up the feel with an electro-tinged drum beat, she distorts the acid dials till the track explodes into a dystopian realm of twisted techno.

The second is Robert Vaughan’s ‘Test Tube’ mix from the original 12 Inch. A no-nonsense prog headspinner, that garnered plays from the likes of Sasha and Digweed. An acclaimed DJ and producer across the ‘90s, with releases on the likes of Space Records and Metropolis, Vaughan injected the track with added breakbeat energy and swirling, tripped-out breakdowns to masterful effect.

A timeless dancefloor classic, expertly remastered and reissued with a remix that both honours and updates the original.

(Late Nite Tuff Guy & Farley 'Jackmaster' Funk Remixes)

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electro-fied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

DJ Feedback:

OPTIMO/ JD TWITCH
Nice! The Farley mix is an all time classic. Lovely version from LNTG.

GERD JANSON
I have love for this.

GRAEME PARK/ THE HACIENDA
I vividly remember playing this record the day it was released while working at Selectadisc in Nottingham like it was yesterday. I played it the same night at The Garage club not long after I started DJing there. It brings back some great memories and this superb remix is just wonderful. Its made me get all bleary eyed and tingly. Absolutely tremendous stuff.

AXEL BOMAN
Love this

KAI ALCE / NDATL
This is a HOT EDIT from Late Nite Tuff Guy!

A LOVE FROM OUTER SPACE/ SEAN JOHNSON
Killer - love it

NORM TALLEY
I love this!

CROSSTOWN REBELS
Nice one!!

JACQUES RENAULT / LETS PLAY HOUSE
LOVE the classic Farley piano mix and the LNTG version is a fun take too!

OSUNLADE/ YORUBA
LOVE THIS!!

DANIELE BALDELLI
Love this classic, and now more love for both new remixes

DANNY TENNAGLIA
I really like this remix

DANNY KRIVIT/ BODY & SOUL
Nice

DJ KEMIT/ ARRESTED DEVELOPMENT
An incredible beefed up edit of an international dance floor classic. 10/10

HELENA STAR / NTS
Amazing record, those chords!!

LOUISE CHEN/ NTS
I’d love to play this.

ERIC DUNCAN/ RUB N TUG
This ones cool.

MAKE A DANCE / BEN
Yes yes yes pease love the original so much.

HOT TODDY/ CRAZY P
The Farley mix is a total winner which is a new one on me, LNTG mix is pretty tasty also

TERRY FARLEY
Yes please. A big early House lesson for me BITD

SUB CLUB HARRI
Realy diigin this.

GROOVE ARMADA / TOM FINDLAY
Love this, production is so good!

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix.

Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present.

Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.


DJ Feedback:

Foul Play
Moving Shadow
"All the remixes totally land, great package, respectfully done. gonna hear a lot of these over the summer I think."

Jerome Hill
Super Rhythm Trax, Don't, Kool FM
"Was a little sceptical seeing these were remixes as its such an iconic track - BUT fair play ! Borai and Ed Solo & Blades both knocked it out of the park and i'll be playing both these, plus replacing my personal (slightly. crusty) vinyl rip of the original ! Bigups !!"

Om Unit
"Untouchable until now tbh"

jd Twitch
optimo
"even though I have probably heard it ten thousand times you can't beat the original. remixes are cool though."

Louise Chen
"this hits so hard it's tough choosing a fave mix!"

Emerald
BBC 1xtra/ Rinse FM
"Yeeeeeh found the dubstep remix vinyl of this in barcelona recently"

Werdna (Circular Jaw)
"Classic, lovely to see Hooj bringing in the big guns for the remixes. These are going off!"

Cortese
"Sick breaks on this one"

Truss/ MPIA3/ Overmono
"wicked"

Oli Warwick
Crack/ RA/ International Orange/ JunoJuno Plus
"Absolutely seminal bomb drop here, and the remixes are no joke either!"

Chris Farrell
"Always good to see this come round again, original and borai mix for me"

Smolny
"CLASICK !"

Doc Martin
Sublevel USA/Fabric UK.
"Complete Rave Warehouse Flashbacks!!!!"

Lil Mofo
The Trilogy Tapes / Tokyo
"wow!"

Moody Boyz
all over the worldstudio rockers records
"classic tune feeling the Filter Dread Remix"

Ciel
Rinse FM / Refuge Worldwide
"really nice collection of tunes!"

dop
"love the original"

The Liverpool-based DJ and producer ASOK returns to DVS1's Mistress Recordings with his most diversified EP yet: "Mistress 14" unfolds ASOK's raw, analog-heavy sound aesthetic full of broken kick drum patterns, stepping basslines, and lush synths.



With 25 years of record collecting, DJing, and promoting parties around the UK, there is little of the dance music spectrum that Stu Robinson has not been involved with. The Liverpool-based artist has amassed a fine understanding of a wide array of scenes, styles and sounds from drum & bass to electro-funk, disco to house and techno – underpinned by a love of breakbeat. The music under his alias ASOK is an amalgamation of this diversity that has found favor with labels like M>O>S, Lobster Theremin, Crème Organization, and Mistress Recordings.



"Mistress 14" opens with "Space Rockets" which is a nod to his breakier love affairs without using actual breakbeats. While second track "Is Anyone" displays his take on classic Chicago House with a little Roland JD-800 euphoria thrown in. On the flip, "Last Refuge" explores driving, rhythmical techno with ASOK's typical ravey pad-like break in the middle until "The Alchemist" closes the 12-inch by laying more focus on melody and texture with a growing, always changing bassline and an ethereal synth that carries the track's energy. The digital bonus track "Apano Sin" concludes the package with a scruffy somewhere in between everything vibe.



ASOK about Mistress 14:



"Mistress 14 is probably the most important EP I have ever made in terms of showing all the different things I am into. I’m difficult to pin down because I’m not really a techno DJ, or a house DJ, or anything like that. I like all forms of electronic dance music. As a DJ, I mix up old and new, familiar with unfamiliar, playing everything from Italo disco to really dark high-bpm breakbeat. As a producer, it’s not easy to put an EP together that covers a little of everything, yet still sounds cohesive. Especially considering that all my tracks were recorded in long live takes, then edited down with no ability to change parts. Sometimes that requires some pretty heavy editing, but that’s one of the good things you get when making music this way. I’m in control of the creative process, rather than feeling like some kind of colored block administrator drawing blocks out on arrangement view of my computer."

GREEN VELVET MAKES HIS CIRCUS RECORDINGS DEBUT WITH BIGGER THAN PRINCE, HIS MOST TALKED ABOUT TRACK IN YEARS...

BIGGER THAN PRINCE WAS BORN OUT OF A CONVERSATION BETWEEN LABEL BOSS YOUSEF AND GREEN VELVET WHEN BOTH PLAYED THE INDONESIAN LEG OF THE ANNUAL CIRCUS TOUR. THE IDEA OF THE CHICAGO LEGEND CONTRIBUTING A BRAND NEW TRACK FOR THE CIRCUS X // PART 1 COMPILATION WAS FLOATED AND SOON HE WAS JOINING NINE OTHER FRIENDS OF CIRCUS WHO WERE ALL TO FEATURE IN CELEBRATION OF TEN YEARS OF EVENTS.

'BIGGER THAN PRINCE' IS A CLASSIC GREEN VELVET VOCAL NUMBER AND SHARPER AND FRESHER THAN ANYTHING WE'VE HEARD THIS SUMMER. QUIRKY AND DRIVING, ITS SET TO BE ONE OF THE TRACKS OF THE SEASON.

TO BACK THE ORIGINAL, YOUSEF HAS DRAFTED IN MORE FRIENDS OF CIRCUS ON REMIX DUTIES, HOT SINCE 82 AND THE MARTINEZ BROTHERS...



DJ FEEDBACK



STEVE MAC - "LOVE THIS RECORD AND THE REMIXES... GREAT RELEASE!!"

TOTALLY ENORMOUS EXTINCT DINOSAURS - "I LOVE THIS RECORD!!! I'LL PLAY THE ORIGINAL!"

MATTHIAS TANZMANN - "BOTH REMIXES REALLY ARE GREAT!! PERFECT FOR ME!"

LEE BURRIDGE - "IT WAS ALWAYS GOING TO BE THE ORIGINAL FOR THIS GREEN VELVET FAN!"

SINDEN - "ORIGINAL WINNING FOR ME!!!! CLASSIC GREENB VELVET... I LOVE IT!"

ZOMBIE DISCO SQUAD - "WOW! I DON'T THINK I NEED TO SAY MORE. THAT COVERS MY ENJOYMENT MARTINEZ BROS. MAYBE MY FAV."

TIEFSCHWARZ (ALI) - "A GREAT GREAT RELEASE FROM GREEN VELVET. SUPPORT!"

AXEL BOMAN - "THIS IS SUCH A COOL TRACK... LOVE THE ORIGINAL FROM GREEN VELVET!"



DANNY HOWELLS - "MEGA PACKAGE... SUPERB ORIGINAL AND STUNNING REMIXES TOO... ALL GOOD!"

DEETRON - "REALLY LIKE THE ORIGINAL AND THE MARTINEZ BROTHERS REMIX AS WELL. I'LL BE PLAYING."

UNER - "THE MARTINEZ BROTHERS REMIX IS SUPERB!! <3"

DRUMS OF DEATH - "I LOVE THIS WHOLE PACKAGE... WILL PROBABLY PLAY THEM ALL ACTUALLY! "

SOUL CLAP - "PURE FUNK, STRAIGHT UP NASTY!! "

MOXIE - "BIG BIG TUNE!!"

RALPH LAWSON - "THE MARTINEZ BROTHERS REMIX IS BEST OF THE PACKAGE FOR ME. GONNA TRY IT OUT AND LET YOU KNOW."

ALEX WOLFENDEN - "CLASSIC GREEN VELVET TRACK WITH GREAT REMIXS! MARTINEZ BROS' THE ONE FOR ME, FULL SUPPORT."

ANNIE NIGHTINGALE - (BBC RADIO 1) - "HOT SINCE 82 SOUNDS QUITE HOT IN 2013!"

LARSE - (KLUBBING, WDR 1LIVE, GERMANY) - "I LIKE THE MARTINEZ BROTHERS REMIX. WELL DONE GUYS!"

WAIFS & STRAYS (AMOS) - "ALL TRACKS ARE KILLER! THE MARTINEZ BROS REMIX IS AMAZING...FULL SUPPORT."

LUKE SOLOMON - "I HATE TO SAY IT AS I AM SUCH A HUGE GV FAN...BUT MB'S MIX KIND OF TIPS IT FOR ME. SORRY CAJ."

&ME - "I DON'T LIKE IT, I LOVE IT!!!!!!!!!!!!!!!"

GERD - GREEN VELVET = BIGGER THAN PRINCE! LOVIN' THE LINNDRUM WINK... GREAT REMIXES TOO!"



ZDAR - "LOVE THIS TUNE!!! CURTIS IS THE BEST AND ALWAYS BE... VERY GOOD MARTINEZ BROS. MIX TOO! LOVE!"

DJ HELL - "AND ANOTHER BIG TUNE FROM THE NEW PRINCE OF DANCE MUSIC! THIS IS GREAT!"

TOM FINDLAY (GROOVE ARMADA) - "GREAT EP!! MASSIVE, SUPER FRESH! GREAT CHOICE OF REMIXES TOO, BOTH SMASH IT!"

SHADOW CHILD - "YES! THE HOT SINCE 82 REMIX SOUNDS DOPE!!! "

SKREAM - "SICK RECORD!! MARTINEZ BROTHERS REMIX IS MY FAV ON FIRST LISTEN."

JORIS VOORN - "WAHAAHA CLASSIC GREEN VELVET ATTITUDE! GREAT STUFF GUYS!!"

ALIX ALVAREZ - "GREAT PACKAGE. GREAT MIXES, ESP FROM MY GUYS TMB, BEING MY FAVORITE. GONNA TRY IT OUT THIS WEEKEND."

TAYO - "THE COOLEST MOFO OUT THERE. CLASSIC GREEN VELVET. SLEAZY "CONTROVERSY" STYLE BUSINESS. LOVE."

CATZ N DOGZ (VOITEK) - "FUCK!! YES PLEASE!!! THIS IS FANTASTIC... MARTINEZ BROS. MIX MY FAV TO PLAY ON FIRST LISTEN."

IAN POOLEY - "THE HOT SINCE 82 MIX IS WICKED!! I'LL BE PLAYING THIS OUT FOR SURE!"

JD TWITCH (OPTIMO) - "I REALLY LIKE THE ORIGINAL OF THIS!! SUPPORTING."

MARC ROMBOY - "GREAT SELECTION OF VERSIONS AND GREAT TO HAVE A NEW GREEN VELVET IN THE BOX! HS82 IS MY PICK TO PLAY OUT THOUGH!!!"

DIESEL (X-PRESS 2) - "THE ORIGINAL AND THE HOT SINCE 82 MIXES AT ARE THE BEST FOR ME. WE'LL BE PLAYING THESE!!"

COPYRIGHT (DEFECTED RADIO) - "HARD TO CHOOSE A FAV. WHAT A PACKAGE...LOVE THE BEATS ON THE MARTINEZ BROS MIX...KILLER!"

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

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)

dljife – The Essence Of Experimental House.
On the A-side of our first 7“ single we see the production team of Hamburg-based baze.djunkiii and Uelsen's finest Sascha Müller who have also ventured into the world of Bass Music with their acclaimed Combat Dubs project as well as their most recent Footwork x Juke x Global Bass fusion remix for Colombian artist Iam JDP on the Freebreakz.FWD label harking back to the Minimal House vibe of the mid-90s, presenting a stripped down, yet groovy and seductive take on late night club music with a tongue-in-cheek twist, Jazz-referencing percussions, wonky, ever meandering midrange synths and a simple, highly effective main motif expertly crafted for those in the know.

On the flip we've got „Acid Jackson“, a vinyl debut for the mysterious project that is RU DEAD 42 which enters a hyperdense realm of muscular, hard-stomping and heavily Acidinfused House Music backed by soft Piano chords and a trippy dreamstate attitude of sorts with this musical outing, providing quite a deliberate contrast to the deep and restrained vibe of the A-side.

The sound is a captivating fusion of hazy style and raw dance floor energy, effortlessly moving between acid, dark, ebm, and emotionally vulnerable moments. ISTHEWAY celebrates 10 years of indipendence with 3 new records. DO IT YRSELF is the manifesto of all these years as well as the name of this 3 Eps series. The 10 tracks of this project are spread over 3 discs and this is 1/3. Every track represents one letter of the manifesto ISTHEWAY born in Verona, Italy ten years ago from the DIY mind of Shinoby. Releases includes remixers like DMX Krew,Hypnobeat (JDB+Helena Hauff), Unit Moebius Anonymous, Madteo, Samo DJ + Tzusing, Jamal Moss,Mgun, The Analogue Cops, Frak.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

We're back! And we've brought some local aussie legends to join us on a cosmic outback bush boogie with 4 x epic dub-olicious, psych rock, Afro disco jams. On the A-side is the Space Jockeys who consist of Ash Moses (Tunnel Signs) and David Smith of mid 80's and 90's seminal dance act 'Boxcar' fame. If you don't know who Boxcar are then you need to hit that search tab and get familiar! Space Jockeys deliver an epic twist on Kingdom Comes - Time Captives, followed by Barney In The Tunnel with their take on classic Australian psych rock group The Ferrets - Tripsville. On the B-side Jerk Boy delivers some JB Edit re rubs of Snakeskin Tracksuit by African Head Charge followed by Super Mama Djombo's funky number tittled Dissan Na M'bera. JD Twitch (Optimo) - super good Charles Webster - headcharge edit is my fave here....thnx Fred Everything - Sankeskin and Time Captains for me thanks! Rob Da Bank () - wondrous music! Kenny Carpenter - Love this track. Horse Meat Disco (Severino) (Severino) - yeeeeees DJ Coco (Nitsa / Primavera Sound) - great, thanks!

Originally released in 2013 and previously unreleased on vinyl, we are proud to present the 3rd volume in the Piece Maker series by legendary DJ Tony Touch. Featuring an incredible line up of MC's that includes Busta Rhymes, Reek da Villain, Roc Marciano, Lil' Fame, Too Short, Xzibit, Kurupt, B-Real, Papoose, Uncle Murda, Black Thought, Styles P, Sheek Louch, Jadakiss, Raekwon, Ghostface Killah, RZA, Eminem, Twista, Bun B, Action Bronson, Prodigy, Joell Ortiz, Royce da 5'9", KRS-One, Crooked I, Redman, Method Man, N.O.R.E. and Erick Sermon among others.

Ever since he made his first trip to Japan to DJ, Optimo Music founder JD Twitch has been bewitched by Japanese music, and particularly the vibrant, imaginative, and often far-sighted sounds which emerged from the island nation during the 1980s. Now he’s put years of digging in Japanese record shops to good use on Polyphonic Cosmos, the latest release on his compilation-focused Cease & Desist imprint.

Subtitled ‘A Beginners Guide to Japan In The ‘80s’, the collection offers a personal selection of Japanese gems recorded and released between 1981 and ’86 – a period when advances in recording and musical technology offered the nation’s artists and producers a whole new tool kit to employ. When combined with the unique musical culture of Japan, where local traditions are frequently fused with Western styles to create timeless, off-kilter aural fusions, this embrace of locally pioneered music technology had spectacular, often unusual results.

Eight years in the making, Polyphonic Cosmos provides an endlessly entertaining musical snapshot of Japanese music of the early-to-mid ‘80s with all of the open-minded eclecticism and sonic twists that you would expect from the Glasgow-based DJ.

Compare and contrast, for example, the gently breezy, morning-fresh folk-plus-electronics bliss of ‘ばら二曲 Baranikyoku (Fellini&Rota)’ by World Standard – the most familiar alias of long-serving musician/producer Sohichiro Suzuki – and the hallucinatory, slow-motion tribal rhythms, post-punk rhythms and tape delay-laden electronics of Imitation’s ‘Exotic Dance’. Or, for that matter, the tipsy mid-‘80s electronic reggae of Pecker’s ‘Sha La La’, the grungy but melodic post-punk strut of ‘You Go On Natural’ by Earthling (a track Twitch accurately describes as “sheer unrelenting groove”), and the unearthly, swirling sonics, new age instrumentation and flotation tank vocals of prolific (and seemingly mysterious) act Geinoh Yamashirogumi’s ‘Rimme Kohkyogaku Meiki’.

It’s a credit to JD Twitch’s curatorial skills that the quality never dips, and sonic surprises lurk around every corner. Consider for a moment the hard to describe, far-sighted audio immersion of D-Day’s ‘Ki-Ra’ – all languid post-pop guitar, enveloping chords, spoken word vocals, shuffling 808 beats and marimba melodies – and the two contributions from video games soundtrack specialist (and driving instrumental synth-pop specialist) Hiroyuki Namba.

The collection naturally includes some selections that have long been favourites in Twitch’s DJ sets – see Masumi Hara’s ‘Your Dream’ – as well as a handful of tracks from artists who may be more recognisable to those with only rudimentary knowledge of Japanese musical culture. The great Yasuaki Shimizu, whose work as Mariah has become far better known in recent years thanks to reissues of some of his most magical albums, is represented via ‘The Crow’, a picturesque chunk of horizontal, hard-to-define jazz-not-jazz smokiness, while the collection fittingly concludes with a sublimely funky, oddball electronic workout from Yellow Magic Orchestra legend Ryuichi Sakamoto (the frankly incredible ‘Wongga Dance Song’).

Matt Anniss

Currently celebrating ten years of releasing music on vinyl & cassette and following hype for recent releases from Moscow (via Tallinn)’s Galun (glagol album) and Osaka's Kiji Suedo (Hosek EP & Riot album), Edinburgh's Hobbes Music label continues to mine a leftfield seam with this brand new album from singer/songwriter George Demure (Tirk, Output) aka DJ/producer George T (Greco Roman, Optimo), better known as George Thomson to his mum. And it’s another absolute peach if you have a taste for post-club sounds of a more leftfield persuasion.

This is the follow-up to his 'The Record Store' EP which came out via George's own All Noise imprint in 2021. He has also released the Roll On, King's Cross single via Hobbes Music under his George T moniker last November (plus various bits for the Paradise Palms and Ramrock labels in the interim).

“It all began with the Record Store EP in 2021,” explains George. “Limit my options. No samples, one drum machine, two analog synths (mono and poly), computer simply to record. I was so happy with the results I began with what you hear today. Same drums, same machines (or lack thereof) maybe some real percussion and melodica but hey, I only answer to me.”

Imagine, if you will, Scott Walker jamming with Kruder & Dorfmeister in a very small studio…

Bonus Album ‘Dandy In Dub’ features dubs, instrumentals and bonus tracks, with yet more regular flashes of pure brilliance. Be sure to check out opener 'After' and closer 'Blue Lou', which sound like George might well have sound-tracked some French 80s flick of the 'cinema du look' period (Betty Blue, Diva et al) in another life. Plus ‘Mr Minilogue’ with its clarinet-like synth.... Does it really get any better than this?!!

Sleeve art by the amazingly talented Bernie Reid, another local legend.

Feedback/Reviews to date:

'He's so talented!' JD TWITCH (Optimo)
'Love the LP. Sounds really together, production is awesome. I love the aesthetic. Vocal tracks sit nicely with instrumentals. Vocals sound light-hearted' THE MAGHREBAN
"On a bobbled and float-y, light sunbeam dappled vapor of deep house, garage, electro, kosmische, leftfield pop electronica, dub and new wave (both the German and UK’s), the Edinburgh DJ/producer and singer-songwriter George Thomson continues the good work he laid down on the last EP... It’s a most lovely, swimmingly blend of motivations, feels and deep grooves that effortlessly comes together in a generous offering of electronic music: the very epitome of the Hobbes label’s remit in delivering leftfield unique visions of now techno, house and club sounds." MONOLITH COCKTAIL
‘I love the album’ LEO MAS
‘Lovely stuff’ S/A/M (Music For Dreams/DK, Cafe Del Mar, Pikes, Playasol Radio and many more, Ibiza)
Plus play/s from Andy Wilson on ‘Balearia’ Ibiza Sonica Radio
+ DJ Dribbler (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure)

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

Cosmic afterburners dialled up to the max, Pamela Records voyage out to the ends of existence with their latest four track trip from Jo Sims. Taking the lead leap of faith is esteemed producer, remixer and DJ David Holmes, who provides a signature cinematic remix of the title track ‘Bass – The Final Frontier’. Like the climax of a sci fi space odyssey, Holmes molds the track into a synthtastic epic with otherworldly vocal refrains ringing around your brain and body. The original mix is up next, a new beat flexing stomper that will have any crowd begging for more.

Flip it for darker, twisted chugathon in the form of ‘Demons Of Dance’ before the trip hop tinged, downtempo delight with a distinctly space age touch ‘Mumbo Jumbo’, takes the final slot.

DJ Feedback:

AXEL BOMAN
Ouff amazing 12" !!!!!!! love love love it

JD TWITCH/ OPTIMO
Excellent stuff!

RON BASEJAM
Ruddy hell, Holmes with the spirit of weathers. love the hi-fi mixdown too, the music providing the power. epic.

JACQUES RENAULT / LETS PLAY HOUSE
Wow, demons of dance and the final frontier...killer 4 tracker

HOT TODDY/ CRAZY P
The David Holmes mix is superb!

EDDIE C/ RED MOTORBIKE
I love this!! The David Holmes Remix is outstanding!

JUSTIN ROBERTSON
Loving this very much

MAKE A DANCE
Huge yes from me. Loved the first release on this label so nice to see it back with more fire

PBR STREETGANG
Really feeling this e.p. every track is strong, and the DH remix is stunning. Can’t wait to play them out.

JKRIV / RAZOR-N-TAPE
I really like the machine boogie vibe of the original Bass and that remix really takes its time and builds to a beautiful peak. All winners here

SUB CLUB HARRI
Lovely stuff

LEO MAS/ AMNESIA
The Final Frontier (David Holmes Rmx) is great, love it

JAYE WARD
YES!!! Glad there’s another Pamela! David Holmes mix is deep and lustrous.. REALLY love the OG’s tougher more dance orientated version.. love the other two tracks too especially mumbo jumbo.. brilliant release!!!

Back in 2018, two mysterious twelve-inch singles appeared in underground record sthops. Credited to Blotter Trax, a previously unknown outfit who cherished “faceless” anonymity, the pleasingly twisted and mind-altering music on show was a mutant form of electronic psychedelia. The included tracks were variously informed by analogue techno, acid, electro and minimal, but inhabited their own clandestine sonic space. These tracks were, we later discovered, lightly edited “straight to tape” jams, crafted on the fly by their creators in one of Berlin’s most admired studios.

By the time Blotter Trax delivered their follow-up on Clone offshoot Frustrated Funk a year later, the secret was out: the project was in fact a collaboration between two storied artists, techno titan Magda – a DJ/producer who should need little introduction – and serial underground aggravator (and man of many aliases) Jay Ahern, sometime Hauntologists member and acid techno royalty thanks to years spent releasing similarly shadowy EPs as T.B Arthur.

In the years that followed, and before the COVID-19 pandemic grounded them in Berlin, the pair took their incendiary, modular-driven live show to esteemed clubland institutions (Fabric included), on an acclaimed tour of Japan, and onto the stages of festivals across Europe.

Four years on from that appearance on Frustrated Funk, Blotter Trax are back in updated and expanded form. Now a trio thanks to the addition of bassist Hannes Strobl, the band is set to release their far-sighted, funk-fuelled debut album, Super Conductor – a pulsating, thrill-in-minute ride includes contributions from a swathe of notable guests (Nina Hynes, Ilhem Khodja and David Moss provided vocals, Shigeru Tanabu played guitar, Matthew Styles mixed the set and old friend John Tejada mastered it).

While rooted in electro and acid, the album is impressively low-slung, stylish and funky, with nods towards Blotter Trax’s mutual love of Arthur Russell, early ‘80s NYC downtown disco, leftfield new-wave pop and flash-fried punk-funk. Released by JD Twitch’s Optimo Music imprint, it charts the ongoing dancefloor evolution of a band whose days of mystery and mischief are now a distant memory.

LTD TO 500 COPIES.

JD Twitch loves Cumbia. The more out there it is the better and Crees Que Soy Sexy is pretty far out. It had been a secret track in his DJ sets, that has caused people to freak out, for many, many years.

Ten years ago he did an edit of it but always felt he could have made it better; it is not often one gets second chances, but here is a second chance to do it again! Everyone knows the Rod Stewart version of this song but of course Jorge Ben came up with that melody originally and Rod then used it, only for it to return to South America with this cover version. It feels like the true ownership of this song belongs to South America and we in Europe are just borrowing it.

After 31 years, the Serious Beats compilation era comes to an end. The very last edition, Serious Beats 100, arrives as 3 Vinyl Box Sets (including 5 vinyls per box).

Some of the most legendary club tracks of the past decades have made the cut, and are now bundled into a true collector's item for everyone who's heart is beating to the rhythm of house music.

After the sucess of their collaborations on Bentley Bass Music and Trad Vibe compilation and severals djs gigs in Europe, long time friends Dj Cam and Moar teamed for "Beats".

"Beats " is a special instrumental album , influenced by the great J Dilla, Pete Rock, New York in the 90's... and looking also into the futur of the beats in 2016.

Dj Cam and Moar will be on tour in Europe in Spring, showing their "Beats" on stage.

2022 Repress

2x12", high gloss photo like gatefold sleeve, 180g Vinyl , WAV&MP3 Download code included
Following their debut EP with 'Ezra Was Right' and support from the likes of Gilles Peterson, Grandbrothers are presenting their debut album 'Dilation". Twelve modern Experimental / Ambient / Piano pieces, whose sounds are generated completely out of a grand piano using small electromagnetic hammers. Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Erol and Lukas formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Erol is a trained jazz pianist, while by day Lukas constructs synthesizers at Access Music. Together, they create a sound that combines classical composition with modern, experimental production and sound design. Their first song, 'Ezra Was Right', earned an early supporter in the esteemed Gilles Peterson, who included the track on his Bubblers 10 compilation and played it numerous times on his Worldwide radio show for BBC Radio 6 Music, with the song eventually being voted #7 by listeners in his end-of-year poll in 2013. A full EP on FILM followed - backed by remixes from legendary Manchester DJ Greg Wilson, Optimo's JD Twitch, and Kim Brown - which sold out its initial run within ten days. Now, Grandbrothers present their debut album, Dilation. The product of two years work, Dilation builds on some of the ideas established on 'Ezra Was Right' while exploring further elements of minimalism, ambient music, IDM, and techno.

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

Toronto party and record label Hypnotic Mindscapes returns with the second instalment of their compilation series featuring an array of Canadian and International artists both established and emerging.
The A side begins with label head Cosmic JD exhibiting a high-energy, acid-infused number, entrancing and mysterious modulations ideal for the witching hours. The A2 cut welcomes long-time Hypnotic collaborator, Montreal ’s own Adam Solomon aka Weekend Logic with a retro-futuristic acid breakbeat with round basslines and enhancing science-fiction melodies. On the flip-side, Hypnotic member DJ Zenta from Tokyo debuts on the label with an unique approach to timeless progressive and tech-house vibes. The final cut on the B-side presents Japanese via Toronto Masayuki Tomita contributing with an after-hours track that exposes his signature of funky and wonky analog electronics. Full colour sleeve art by label artist Sofia Eleni.

New Japanese label "amidst" debut EP by up-and-coming Colombian-born Canadian producer and DJ, Cosmic JD. The tracks stand somewhere amidst solid Techno with a Garage twist, cosmic funky Deep House, trippy Downtempo and epic Ambient.

Yellow Vinyl

The first release on Optimo Music founder JD Twitch’s new compilation-focused label Cease & Desist will be a collection of pioneering turn-of-the-90s British “Bleep & Bass” techno tracks curated by author and music journalist Matt Anniss.

Join The Future: UK Bleep & Bass 1988-91 is a partner product to Anniss’s critically acclaimed book on the foundations of British dance music’s ongoing love affair with sub-bass, Join The Future: Bleep Techno and the Birth of British Bass Music. The book, which was published by Velocity Press in December and features a foreword by JD Twitch, documents in vivid detail the previously untold story of the Yorkshire-pioneered style and the impact it had on the development of UK dance music.

The compilation is the first to focus on Bleep & Bass since the sound’s heyday in the late 1980s and early ’90s. It features a mix of historic cuts, period classics, overlooked gems and unreleased material. It was mastered for release by Warp Records co-founder and Forgemasters member Rob Gordon, a producer, remixer and studio engineer who arguably did more than anyone else to define the sub-heavy sound of the style.

Gordon also contributed a previously unheard version of Alfanso’s “Dub Feels Nice”, a near mythical track he produced in 1991 that has never received a proper commercial release. The cut has been a secret weapon for a handful of Sheffield DJs for almost 30 years, most notably Gordon’s fellow Forgemasters member Winston Hazel. Fittingly, the compilation also includes the original unreleased instrumental version of Tuff Little Unit’s Steel City classic “Join The Future”.

Many of the other tracks on the compilation are rare, hard to find or have not been issued on vinyl or digital since their initial release. It opens with Unique 3 and the Mad Musician’s “Only The Beginning” – the 1988 A-side of the first ever Bleep record – and also includes tracks and remixes from fellow scene pioneers Ital Rockers (an early alias of dub hero Iration Steppas), Nightmares on Wax, Cabaret Voltaire and DJ Martin and DJ Homes, the previously unheralded Chapeltown duo behind the influential Leeds-based studio and record label BASSIC.

Elsewhere on the compilation you’ll find Birmingham producer Demonik’s sought-after debut single “Layrinthe”, a hard-to-find cut from Bedford-based men of mystery Original Clique, two classic cuts from the vaults of influential Midlands label Network Records and a glassy-eyed slab of Bleep/deep house fusion from 100 Hz.

Join The Future: UK Bleep & Bass 1988-91 will be released on double vinyl and digital download. The 10-track vinyl version features an insert with extensive liner notes by Matt Anniss. It also comes with a code to download the 12-track digital download version. The compilation will be released by Cease & Desist on March 25th 2020.

The first EP from Nottingham’s like-minded music collective, Plates.
Originally established as a record shop and now a record cutting studio and music community, this EP showcases sounds close to its core and original supporters.

A1 is a track salvaged from a box of long-lost cassette tapes dating back to the mid-90s, bursting with raw and uplifting grooves, a soundtrack to moody city nights in Nottingham. Facehugger a long-time friend and supporter of Plates, alongside musical partner, Mark Warden aka DeviantRIP brings a tearing live analogue jam mashed together on a Roland 202, 808, 909 and JD800 - ave it!

A2 offers a completely different take on the typical ‘jungle’ style. Citizen Griot, an already prolific local beatmaker, better known for his hip-hop grooves and collaborations with local rappers, brings moody and enchanting jazz club vibes over subtle but constantly moving breakbeats.

B1 is the first ever ‘finished’ track from Plates founder, DJ Squid who has spent the last 10 years focusing on DJing and wasting precious time. This tune dedicates his love for early 90s jungle, and hardcore with the roots of soul, rare groove, weird library music and the simplicity of hand-picked samples, an MPC 2000XL and a dust-covered Mackie mixing desk.

B2 brings you back down to earth in a smoky spaced-out back room courtesy of long-time crate digger and local hero Mr Wilson. Head-nodding beats cushioned by a soothing bassline and hypnotic chords that surround you and carry you away to another dimension that is neither new or funky.

This record is dedicated in memory of Rita, Philpotts, Pete Woosh, Adam XTC and Harry McCormick.

Serendeepity is delighted to announce a celebrative compilation for the tenth anniversary of the Milan-based record store.

This collection is entirely composed of previously unreleased music, exclusively produced for the occasion by many artists of great relevance in the worldwide music scene, who supported the store over the last ten years.

The artists who produced the music for this compilation are Egyptian Lover, Ellen Allien, Thomas Brinkmann, Neil Landstrumm, JD Twitch, Matias Aguayo, San Proper, Tolouse Low Trax, Jay Glass Dubs, Dj Marcelle, Jorge Velez, Tamburi Neri, Fabrizio Mammarella, Heith, Itinerant Dubs, Timeslip89, Kreggo and Intersezioni Ensemble.

The entire work is composed of 4 x 12”, which will be released monthly.

There is definitely something "afro" inspired about this latest EP from Puma & The Dolphin, certainly in comparison to pretty much everything else I've ever heard from him, which includes a great EP on Canadian imprint Chambre Noir and some stellar inclusions on every one of Dj soFa's highly respected "Elsewhere" compilations.

I'm told that while immersed in domestic life during lockdown in Sofia, Bulgaria, the music evolved to take in what was happening at home and saw the inclusion of toy instruments, his own drum playing, the voices of his children playing and even the family parrots whistling and squawking in the background. These random ambient insertions when seen in the context of the hypnotic and percussive rhythms and timbres throughout are oddly reminiscent of the late, great Francis Bebey who, although culturally and physically a million miles removed, was also known for recording much of his work at home and who also featured the voices of his children playing.

In fact, it is as much the music's playfulness and simplicity that give the pieces their distinctive character, at times echoing the repetition and mesmerism of Raymond Scott's "Soothing Sounds For Baby" series. Yet, childrens' music this is not. There is a mysticism and depth on one hand and a willingness to experiment on the other that reminds me of pioneering experimentalist K. Leimer's early Eno-inspired tape outings as well (see "Supermarket" for example).

I asked Puma & The Dolphin's Nikko Names if he could share the story behind how these six tracks came together. He had this to say:

"This collection of pieces were created during a monotone period of my life which I have overlaid with colour: a time in which I surrender to the beauty of home life - watching my kids play, feeding the birds - entwining these sounds of my surroundings amongst the rhythmic layers of these pieces. Playing the drums to remind us of the next circle dance for four. There is something mystic to travel only in your head; a shamanic trip inside the body with no concepts and answers."


"Good stuff ... digging Am Am Am and Supermarket in particular" JD Twitch Optimo Music / Blackest Ever Black / Strut / On-U Sound

"Cool stuff" DJ SoFa Pingipung / Emotional Response / Kalahari Oyster Cult

With current album ‘Automatic’, Mildlife have made a step-change from their debut. It’s more disciplined, directional and more danceable. As on ‘Phase’, they are unafraid to let a track luxuriate in length without ever succumbing to self-indulgence. The arrangements, tightly structured thanks to Tom Shanahan (bass) and Jim Rindfleish’s fatback drumming, permit space for the others to add spice to the stew, topped off with Kevin McDowell’s ethereal vocals as Mildlife effortlessly glide between live performance and studio
songwriting.

The two remixers tackling ‘Automatic’ track ‘Vapour’ here need little introduction. JD Twitch, one half of Glasgow’s Optimo Espacio and discerning curator of all things Caledonian and beyond, takes the reins for remix two, adding some clattering post-punk energy to the rhythm, turning ‘Vapour’ into something approaching a take-no-prisoners anthem.

Cosmodelica is the remix handle for Colleen Murphy (aka DJ Cosmo), the hostess of the hugely popular Classic Album Sundays series. She is fresh off the back of a superb Róisín Murphy reworking and her offering here is simultaneously faithful to the original while lending it some serious dancefloor power.

Gigantic producer/DJ from Scotland, Creep Woland, lands back on the Astral Black heli-pad with his 'Chamberlain' EP. Four blistering breaks-led, club ready, jungle tracks intended as an ode to the rolling bass and rainy days that raised him. Picking up near enough where his Close Reading debut left off, Chamberlain sees a more refined and honed execution of the hard hitting electronica Woland has become known for.

Informed by the experience of playing to dance-floors, as well as educational journeys down to London for radio sets, these new tracks are fine tuned and bass heavy - perfect for existential club experiences or the driving of sports vehicles. The subdued intrigue of EP opener 'Imposter Syndrome' sets the mystical and reflective tone of the record, while down the line junglist anthems 'Medieval Draw' and '0800-Falkirk Triangle' call for slow motion gun finger. Written at a time of personal hardship and mastery of oneself, the hopeful promise of closer 'Lord Chamberlain' acts as a sonic representation of the proverbial light at the end of the tunnel of this particular time in Woland's life.

Recently, Chamberlain EP's 'Imposter Syndrome' has been receiving early radio support from Rinse FM's Jossy Mitsu & Impey on NTS, whilst his debut release Close Reading received radio support from the likes of Josey Rebelle (in her award-winning Essential Mix), Om-Unit and JD. Reid as well as critical acclaim from FACT, CLASH & Hyponik. In addition to its various accolades, Close Reading also lead to Woland being handpicked by Lanark Artefax as the opening act for his 'Enter The Gateway' performance, and has since performed alongside the likes of Om-Unit, Proc Fiskal, DJ Storm and more.

Vinyl Only Clear Vinyl

Almost 20 years ago there was the limited release of a rare whitelabel by Jesper Dahlbäck. It's still one of our favorite "hard to find" records and we are really happy to re-release it on Cutz# with 2 well balanced DJ friendly edits by youANDme.

Laid back and chilled out, Andrew never lets anything or anyone bother him. He has an air of mystique about him which others often envy.

(Andrea Solitario) ANDREW SOUL Andrew from his real name, Soul as the part where his inspiration come from, is a native italian producer born in 1986.

Music has been the first and everlasting love for this guy who soon came into his city's underground scene: he was 15 years old when he walked into a club for the first time. Then everything came by itself: a fusion of house and techno, the passion for the acidized sounds filled his mind and his heart.

But listening wasn't enough: the love for the music was to much for not to create something.

So Andrew started a path made by wicked grooves, dropping acid synths and emotional vibes, huge baseline, soulfoul vocals, roland tr-707 on the drums: these featuring characterize at best Andrew's sound.
The love for the analog sound push him over the years to purchase some vintage drum machine and keyboards, to make his sound as better as he can, and to add to his sound some cool old flavour.

Having DJd for years in his native Italy, Andrew turned his hand to production a few years back and promptly set about making some of the most emotive and engaging analogue house and techno around.

Vinyl collector, record lover, for him there's nothing better than watching a wax riding a turntable and listen the music that come from it.
As an eclectic artist, in his sets, Andrew likes to mix from deep to techno, through the house, but people never know what to expect from his large underground music knowledge; old, classic, brand new tunes and own productions makes his set really sophisticated and different each time.

After working on music collaborations for several years, with some friends , early 2011 was time to start sharing solo productions with his first release on Paulatine Records, wellknowed Uner's label. 4 tracks that take attention of many wellknowed djs, like X-Press2 that played the tracks at MOS and on their radioshow, Adam Port who said "Finally something different..." and many others..
Then two vinyl release: first one on the great Barcelona based Kiara Records "Too Much Love Will Kill You", Julien Chaptal on remix, and second one on the New York based imprint Stranjjur Inc, on remix Kris Wadsworth and Baldo; "Close To You" placed 29th on RA Chart.
A great tune with the close friend Frank Naht alongside a remix for Fabio Monesi on friend's label Blackrose Records, and an EP on Espai Music to follow.
End of 2012 was good: EP come out on the Defected's sub label "Tenth Circle"
November 2012 was also time for releasing on Safari Numerique with David Labeji on remix, and the track "No Way" played by Richie Hawtin.
2013 full of work and innovation, with 2 remixes on italian Moan Rec for Meeph, and U.S. based Undulate Recordings for Frank Nath, a really deep EP on his new family Popcorn Records, and jacking mode on for the new release on Safari Numerique.
2014 starts with a vinyl only release on Popcorn Records Ltd, special collaboration with Peter JD and remixes from Amir Alexander and Franco Cinelli.

The path is long and Andrew's research is still long way to end...