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2 x Solid White LP, 5mm spine Sleeve UV Gloss Finish, 2x Heavy Weight Printed Inner Sleeve UV Gloss finish, marketing sticker.

Legendary electronic music duo Orbital return Early 2023 with new album “Optical Delusion”, the Hartnoll brothers first studio album since 2018’s Monster’s Exist. Recorded in Orbital’s Brighton studio, “Optical Delusion” includes contributions from Sleaford Mods, Penelope Isles, Anna B Savage, The Little Pest, Dina Ipavic, Coppe, and perhaps most surprisingly, The Medieval Baebes.
Earlier this year, Orbital celebrated their storied history with “30 Something” which, unlike other Best Of’s, contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks including “Chime”, “Belfast”, “Halcyon”, “Satan”, and “The Box”

SHORT BIOG:

“A human being experiences himself, his thoughts and feelings as something separate from the rest of humanity – a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison…”

You many have seen this quote attributed to Albert Einstein on social media, the archetypal Smartest Guy Ever apparently having an out-of-character religious epiphany. It certainly leapt out at Paul Hartnoll of Orbital who spotted it in Michael Pollan’s 2018 book How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence.

“As soon as I saw ‘optical delusion’ I thought Oh hey, that’s the album title,” says Paul. “It just seemed to say so much about how people construct their own realities, how we see patterns that aren’t there, how we see what we want to see.

“But it’s actually a misquote. He never quite said that. In the German original what he’s really saying is that human experience is as relative as physics. Wouldn’t it be good if we could accept that, and find a kind of universal theory of everything for the human race? Then you look at everything from history to art to your Twitter feed and you think yeah, that’s what we’re all trying to do all of the time…”

Hence ‘Optical Delusion’, the tenth original Orbital album and the latest in a burst of renewed post-pandemic creativity for two brothers who’ve stayed at the top of their game longer than anyone from the post-1988 Class of Acid House.

Now with ‘Optical Delusion’ the Hartnolls dig deeper into the unquiet psyche of our increasingly surreal and disordered world. Sketched out partly during lockdown but fully recorded in the uncertain After Times, the album summons up conflicting emotions and sometimes beguiling images from years when the science fiction doomsdays that the Hartnolls watched on TV as kids finally came true. There are mesmeric tracks with names like ‘The New Abnormal’ and ‘Requiem For The Pre-Apocalypse’ and ‘Day One’. But there are also straight-up bangers and ethereal cosmic dreams, abstract sound wars and deeply human songs of separation and loss.

And it all starts with a bang. Lead single ‘Dirty Rat’, an outright Fall-meets-Front-242 class rant with vocals by Sleaford Mods mob orator Jason Williamson, harks right back to the Hartnolls’ days of politicised anarcho-squatpunk. It began as a remix swap (Orbital did the Sleafords’ ‘I Don’t Rate You’) and morphed into a comic, brutal, bass-driven harangue not so much against our rulers but at the petty, mean-spirited, frightened, Mail-reading voters who put them there: the people who are “blaming everyone in hospital/blaming everyone at the bottom of the English Channel/blaming everyone who doesn’t look like a fried animal.”

Also key to the album is opening track ‘Ringa Ringa (The Old Pandemic Folk Song)’ which returns to an Orbital truism, that time always becomes a loop. This chugging, cyclical Orbital groove gives way to an unnerving past-meets-present timeslip fit for ‘Sapphire And Steel’ as goth maenads The Mediaeval Baebes materialise to sing ‘Ring O’Roses’ – the innocent nursery rhyme whose roots are in the Black Death.

“I’ve always liked folk music and mediaeval sounds,” says Paul, himself an occasional Morris dancer. “I had the basis of that track and I wanted to spin it off somehow.” Trawling his archives he stumbled on The Mediaeval Baebes’ version of ‘Ring O’Roses’ “and my hackles just went up. I was like, my God, this is the original pandemic folk song.”

?his being Orbital, there are collaborations galore on the album, the roles once played by Alison Goldfrapp, Lady Leshurr or David Gray now filled by new talents. London singer-songwriter Anna B Savage contributes a compellingly fragile, Anohni-like vocal to ‘Home’, in which nature reclaims the scorched and vacant mega-cities. ‘Day One’ is a pulsing techno track featuring the singer Dina Ipavic. Paul got in touch with her after working on a score for a sculpture show of giant robotic installations by his friend Giles Walker during the pandemic. First Paul cut up his own score and Ipavic’s vocals on the track The Crane, which appears on the deluxe version of the album. Then he thought, Why not work with her for real? The result is school of ‘Belfast’, a bassy dreamscape with vocalised clouds billowing above.

The pensive ‘Are You ?live?’ adds to the Orbital product range of existential questions (‘Are We Here?’, ‘Where Is It Going?’) in collaboration Bella Union signings Penelope Isles, AKA brother and sister act Lily and Jack Wolter. “They’re our studio mates, they work upstairs!” says Paul happily. “And they’ve both got amazing voices.”


But Orbital are Orbital and never far from the dancefloor. “Eventually the more abrasive bits came back into the fold…” ‘You Are The Frequency’, first of two tracks to feature mysterious vocalist The Little Pest, surrounds the listener with warped voices ordering you to the dancefloor (Phil: “we wanted the idea that the music is kind of absorbing you”). And the second, the sinister ‘What A Surprise’, traps you in a paranoid electronic hall of mirrors.

In another nod to Orbital’s resurgent past the cover artwork once again comes from fine art painter John Greenwood, creator of fantastical grotesques for the covers of ‘Snivilisation’, ‘In Sides’ and Orbital’s most recent album, 2018’s ‘Monsters Exist’. Orbital had just had a slick Mark Farrow cover for ‘30 Something’ – this is a return to the overripe and bulbous techno-organic constructions that somehow express Orbital’s own uncontrollably fertile sound.

There are gaps in the future that Orbital are desperate to fill too; there will be tours and festivals and rooms and fields full of people. Those long paralysed months when we had little to look forward to but a Zoom DJ set made Paul and Phil appreciate the things that make life worth living.

For the third in its fifth anniversary release series, Stroboscopic Artefacts brings together tracks from Xhin, Tommy Four Seven, Kangding Ray and Dsrcd. Xhin's Blade Moth', previously released digitally by Meerestief, finds today new (and remastered) life on SA. It is deep and propulsive, with scattershot percussion reverberating around finely tuned kicks and sci-fi oscillations. The detailed sound design and experimental quirks are typical of the producer; they made for a stunning debut album on SA in 2011, and here elevate the functional 4x4 skeleton into a fantastically ethereal piece of dance music. On 'FFFFF', an incessant bass groove channels pounding kicks and high-end distortion into powerful form. Tommy Four Seven's experience in the DJ booth informs the less-is-more approach, as carefully selected elements roll dynamically and to gripping effect. Flip the record over and Kangding Ray provides the most dramatic offering in 'Luna'. Warehouse-style synths slide from behind drums and throbbing pulses of sub bass, driving the track forward with vigour. 'Luna' closes with an extended and euphoric outro, it heightens the peak-time force and lends itself to spellbinding mixes. Parisian act Dscrd end the EP with slow, grinding techno cut 'Apparition Hill'. It opts for tension over release, ebbing and flowing with restrained arrangement and masterful guile. Illusory vocal samples and washes of noise rise from the murky atmosphere, filling the mid-range with harsh textures. Dscrd's contribution offers something slower and more heady, finishing a special record with finesse.

Ugly Mac Beer, a key figure in the French breakbeat scene, founder of Beatsqueeze Records and author of the critically acclaimed albums Modonut 1 & 2 alongside Mister Modo, is back with a new solo album “The Valley of the Kings”, between lofi hip-hop, abstract hip-hop or even broken beat, which will be released on January 27, 2023.

A digger/beatmaker effort par excellence, very inspired by the 90s productions of masters of the genre such as Madlib, DJ Shadow or RZA, the concept of this instrumental album with oriental sounds is based on the search for the sample of “THE” ultimate and perfectly heady loop, which can be listen to over and over again.

The eponymous title track which opens the album sets the tone with its powerful lofi hip-hop drum on a big cinematic and orchestral sound which evokes an Egyptian peplum of the 60s taking place in the heart of the mythical valley of the kings! Another highlight of the album, the track “Les chœurs perdus” resonates like a children’s tale, with its bewitching voices and magical songs set to a catchy beat that evokes the Egyptian goddesses and the mystery of the pyramids. To compose the powerful and rather dark beat of “The New Flame”, another essential piece of the album, the beatmaker drew his inspiration from New York hip-hop from the 90s but also from “crime film” soundtracks from the 70s. The sublime interludes “Fortune & Gloire”, “Years of Despare” and “Ambitious Dream” take us from one track to another, each one more powerful than the other.

In a very cinematographic mood, Ugly Mac Beer succeeds in developing its “old film about Egypt” album concept from start to finish and thus manages to tell a real story that takes us on a journey back in pyramids time.

Ugly Mac Beer, a key figure in the French breakbeat scene, founder of Beatsqueeze Records and author of the critically acclaimed albums Modonut 1 & 2 alongside Mister Modo, is back with a new solo album “The Valley of the Kings”, between lofi hip-hop, abstract hip-hop or even broken beat, which will be released on January 27, 2023.

A digger/beatmaker effort par excellence, very inspired by the 90s productions of masters of the genre such as Madlib, DJ Shadow or RZA, the concept of this instrumental album with oriental sounds is based on the search for the sample of “THE” ultimate and perfectly heady loop, which can be listen to over and over again.

The eponymous title track which opens the album sets the tone with its powerful lofi hip-hop drum on a big cinematic and orchestral sound which evokes an Egyptian peplum of the 60s taking place in the heart of the mythical valley of the kings! Another highlight of the album, the track “Les chœurs perdus” resonates like a children’s tale, with its bewitching voices and magical songs set to a catchy beat that evokes the Egyptian goddesses and the mystery of the pyramids. To compose the powerful and rather dark beat of “The New Flame”, another essential piece of the album, the beatmaker drew his inspiration from New York hip-hop from the 90s but also from “crime film” soundtracks from the 70s. The sublime interludes “Fortune & Gloire”, “Years of Despare” and “Ambitious Dream” take us from one track to another, each one more powerful than the other.

In a very cinematographic mood, Ugly Mac Beer succeeds in developing its “old film about Egypt” album concept from start to finish and thus manages to tell a real story that takes us on a journey back in pyramids time.

After opening the dimension door via a hypnagogic contribution to recent Ruf Kutz comp 'Expansion Pack 2: Textures' and offering a sonic submersion into his 'Deep Waters Mixtape', Inner Glow takes the controls for RK18, treating the DJs and dancers to a high grade house triptych.

For the uninitiated, the man behind the music is a lifelong friend from Ruf Dug's Sydney sojourn, when the two would host mushroom squat parties with the rest of the "Bodega Clan", and who helped mastermind the seminal Paradise Lost warehouse parties. Virtuously patient, the Australian spent the years since perfecting his craft, maxing out the XP and emerging as his evolved form, Inner Glow.

On the A-side, Inner Glow comes through with the two clubbiest cuts from the 'Deep Waters' cassette, unmixed, mastered loud and exclusive to vinyl. Already a firm favourite with Bradley Zero 'Party People' pulses on the A1, its one note bassline and taut pads keeping tension at a maximum. At the top of the frequency band sparse stabs and nuanced percussion dance in tandem, while the deft use of E-Smoove and First Choice acapellas provide an underground intertext Sprinkles would be proud of.

'Call Me' coaxes us into the shadow realm with the lure of Lynchian dialogue, slowly taking shape as a dub techno phantom. It's a heads down affair as urgent subs push against the mist of static, until a rising, wriggling keyboard riff unwinds waists with a hint of UKG exuberance.
Inner Glow brings the beatific on the B-side's 'Love Has No Age', combining rippling keys and MK vocal chops over waves of hiss and haze.
The percussion combines classic house swing with the tinny hats of electro, keeping perfect time as the soulful vocals swell into the sublime.

Over the last twelve months Ruffy's rocked the spot from Pikes to Houghton with these heaters, and now he's sharing them with you.

Alt-rap dissident Jam Baxter announces his newest solo venture, Fetch the Poison. Conceived during a state-wide alcohol ban in Mexico, the album is Baxter’s first to be composed in complete sobriety — though his hallucinatory style of storytelling and cast of monstrous characters make a welcome return. Lyrics on Fetch the Poison meld Baxter’s Latin American experience with visions of a grisly alternate dimension: sun, sea and glittering vistas are sullied by hollow-eyed addicts, shady bar tenders and duplicitous lovers. Amongst deft bars, the rapper includes a number of spoken word pieces that echo the prose in his now sold out book Off-Piste. The album also features Blah Records' Nah Eeto & Black Josh, as well as DJ Sammy B-Side and Jehst, alongside Brazil’s NOG, Black Alien and Xamã. Baxter reunites with frequent collaborator Chemo on production — now under the moniker Forest DLG — for much of the album, with appearances from Jack Danz, Dr Zygote, Wundrop (CMPMD) and Midlands' electronic stalwart Lenkemz. Despite its diverse credits, tracks are connected by icy, spaced-out electronics with beats twisted through tape distortion and anchored by chest- rattling bass. Baxter began writing the album in Mexico just before the pandemic began while holed up in the city of San Cristobal De Las Casas, Chiapas, as the world shut down. “All the streets were eerily empty and it was amazing. I had the city to myself,” he says. “Then suddenly there was a state- wide alcohol ban and I could no longer casually sip tequila as I went about my business. I didn’t really have a choice but to write” With no alcohol to fuel him, and San Cristobal largely silent, the rapper says he was surprised to find himself in a deeply creative — and prolific – state. “I took to it amazingly well, and I wrote this whole album in three months of clear-headed bliss in the same apartment. I would sit and write all day, and occasionally walk up a mountain when I got stuck ... or go and feed the stray dogs at the church on top of the hill. It was weirdly the most fun I’d had in years.” Fetch the Poison is Baxter’s seventh solo album.

Pals FM: Floor Materials Vol.2 is the second dance music compilation from WALLS AND PALS. The aim is to share various ideas of dance floors instead of lingering on a certain genre or style, and while being DJ Friendly, it also serves as an exchange ground where production techniques of artists co-exist. All four tracks in Vol.2 correspond with the common purpose of bringing out ‘Floor Materials’, keeping distinct identity from each musician. In ‘Cofrica’, rapper and producer Simo of Y2K92 injects his long-time affection of Detroit flavor into a minimalistic form. Conversely, DOTT from the Thai label More Rice brings intricate and complex rhythms centered around the step sequencer in ‘Antibody Movement’, walking a fine line between House and Techno while the essence of Tech House is preserved . And in ‘Pump It Up’, ACIDWORK demonstrates what the outcome would be when Electro runs through digital instruments and samplers. Last but not least, Seo John, who put out his first EP DIVE last year from the label GODDEZZ, follows up with ‘miQro’, creating a different side of Trance that is more adequate for clubs or concrete spaces rather than outdoor raves or festivals. In the same manner with the preceding release Pals FM: Floor Materials Vol.1, Vol.2 is a compilation executed by fellow Asian musicians across the region. Beyond the reopened borders, and just like the excitement and stimulus at unusual events, this compilation serves to contribute to the dancefloor as an interesting ‘Material’ than simply as a ‘Tool’.

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

repressed !

Firmly entrenched in techno's haziest alcoves, every new record from Denise Rabe is as punishingly hypnotic an experience as it aims to penetrate the deepest laid of your cerebral zones. Having plied her trade on Arts' sub-division Arts Collective before moving on to establish her own dedicated label, Rabe, in 2017, the Berlin-based DJ and producer steps up with her much anticipated debut platter for Stroboscopic Artefacts, as she takes the helm for the fifth sortie of the Totem series. True to her love for all things droney and psychoactive, this time Rabe has us descending into rugged, hostile sonic terrains with just a headlamp and the thick mantle of darkness for closest companions. Ahead’s a demented safari across nightmare-prone visions and thunderstruck vistas.

Hosing off the loud, churning 909 kicks and passive-aggressive machine talk straightaway, 'Manifesto' sets the tone for the warehouse-sized hammering to come. Evil-minded swashes of hyper-delayed percs and criss-crossing chimes lash out in successive waves, further subjugating the dancers as bars fly by. A more spacious and atmospheric number, B-side opener 'Clouds' heads for quieter high-altitude spheres as the dubbed-out drums beat an off-kilter, leftfield friendly pulse and ominous synth stabs and pads envelop the listener in entrancing textural folds and interplays. Back to floor-ready dynamics, the adrenaline booster 'Don't Leave' caps it off on a truly mind-bending tip. Primed for unrelenting peak time action with its angry buzzard-like drones, pacey 4/4 swing and refined palette of eerie circuit noises and click-y minimalism, this one's a high-impact steamroller, sure to get maximum response when things start getting muscular.

Limited edition run of 500 copies - pressed on transparent blue vinyl

Following a CD-only release in Japan in 2021, legendary downtempo producer Calm finally releases his “Before” album on vinyl and digital courtesy of Hell Yeah. The 10-track record is a slow-burning Balearic beauty.

Calm aka Kiyotaka Fukagawa has never been to the White Isle, but he sure knows how to capture its musical essence. He has done so over a long and storied career that has taken in 17 albums and some 35 EPs on many labels including this one over the last 20-plus years. His unique blend of ambient, jazz and leftfield was last showcased on this label in 2018 with his By Your Side album, and now he does it again with another timeless and escapist offering.

The record was written, arranged, mixed and produced by Calm, but with gorgeous musical embellishments, trumpets, flutes, saxophones, violins, bass and keys played by friends and guests like Shiba, Sinsuke Fujieda, Fumiko Takeshita, Tomokazu Sugimoto, Yuichiro Kato and Toshitaka Shibata. Tracks from it have already had support from Cosmo Coleen Murphy on Worldwide FM, while Phil Mison says it is "100% reminiscent of an old Café Del Mar or José Padilla record." He is not wrong.

As soon as the opening chords of 'Beauty on Earth' wash over you there is no escaping the naturalistic charm and beauty of this record. 'Long Summer Dream' layers mystic wind sounds and gentle percussive patterns into suspensory bliss, 'Blue in Void' is a plaintive moment of sombre sax and pensive piano, then 'Liminal Moment' awakens the soul with its gorgeous flute lines and looping arps.

There is perfect horizontal sunset house on 'I Love You,' 'Feel It' picks up the pace with seductive saxophone motifs and psychedelic synth loops and 'Before Sunrise Blue' is crushing downtempo melancholia. 'Kunpoo' reawakens you with leggy bass and expansive synths that reach for the heavens, while 'Freedom Sunset' is an epic 10-minute journey out to sea. Lastly, 'Let's Make Harmony' is super slow motion jazz-funk that swells the heart. Before is a superb album that is well-deserving of this double vinyl pressing and is sure to become a Balearic classic.

DJ Support:

Phil Mison, Colleen Cosmo Murphy, Chris Coco, Buena Onda Crew

Did you know Micheal "Eyedea" Larsen - one half of the progressive hip hop duo Eyedea & Abilities - once released a solo project under the moniker Oliver Hart? Fresh on the heels of winning three of the most notable MC Battles of the time - Scribble Jam (1999), Rocksteady MC Battle (2000) and the nationally televised HBO Blaze Battle (2000) - and the release of his debut album with musical partner DJ Abilities, First Born, Eyedea was inspired, intent, insatiable. He used most of his earnings from those MC battles and the group's rigorous touring schedule to build himself a home studio and teach himself how to record and mix records, and in less than a year's time, he returned to share the fruits of his labor. Originally released in 2002, The Many Faces of Oliver Hart or How Eye One The Write Too Think was written, produced, recorded and engineered by a 20-year old Eyedea (aka Oliver Hart). Featuring the songs "Weird Side", "Here For You", "Step By Step" and "Bottle Dreams", which Complex named as #11 on a list of the best songs ever released on Rhymesayers Entertainment, the album was a diverse body of work that demonstrated Eyedea could not be easily defined, nor should he be.

Blue Vinyl
After Psychiatre's previous electro-focused Lost Palms release proved his artistic malleability, his latest sees him return to his signature sound. NMAV EP radiates warmth; music that sits back into itself, and invites its listener to do just the same.

It begins with three deep house soothers, the first taking disco as its springboard, and the rest stripping it right back to a minimal, soul-caressing effect.

On the B-side the sun doesn't stop shining, except this time Psychiatre injects a healthy dose of acid and the groove of a breakbeat. But far from the rave connotations of each style, Psychiatre teases out the most gentle facets of each, bringing the EP to a suitably laid-back close.

Terra Magica Rec. is back with its fifth release “Club TERRAM”! This time it will be another V.A. compilation of never heard and unreleased original gems of electronic body music.

Think: A double 12” vinyl which is fully charged for dismantled club use as those mighty TERRAM clubbers say. Compiled and arranged by Tom Sprenger & Mirko Hecktor all tracks are dance floor oriented rhythms which will activate your maximum energy output as well as total chill out crash. Let the new bots work your life balance. Multiverse to introverse to metaverse. With its discoish genre splicing between 90s-IDM 2 Big Beat and Breakbeats 2 NuCosmic 2 Acid-Madchester 2 rolling trancey driven Goa beats the record reflects the electronic underground culture of dance clubs and discotheques of the past 50 years. These stand for emancipation, gay liberation, cicil rights, working class and democracy. Find your inner peace on the chill out floor side. Or go bonkers to the hedonistic main room floor fillers. Find your unique personal safe space in TERRAMs different floors and hidden rooms. A CLUB FOR A L L. As Richard Dyer wrote in 1979 “In Defence of Disco”: ‘Capitalism constructs the disco experience, but it does not necessarily know what it is doing, apart from making money’.

The underground is where we go moving.

Ya’ll know it is time to get ready for some bass drum pressure. So there is a number eleven on their roster from JJ Fortune. The moniker of an Irish DJ and a producer who at the moment lives in Melbourne, Australia. Now he is mostly releasing new music on his own Pachinko and Rizzwax record labels, like the serious guys do. But now it is time to take a step further from the homeland and check in with Moscow.

Classic deepest deep house-ish style grooves with some extra spices and cream but also edgy 8-bit passages on top. With all the respects to the roots this young man will show up with some new school body movements. Fresh Irish blood is definitely ready to boil up the dance music scene a bit. B-side remix duties are

Repress!

Tarenah was one of only two singles pressed under the nom de plume of Psychedelic Research Lab - a collaboration between Scott Richmond and John Selway which began while the pair were attending music conservatory at SUNY Purchase College, in upstate New York. Scott produced the first version of the track for a modern dance performance in 1993. A mix of electronics and room full of live musicians, the session featured an afro-cuban percussionist, a Bangladeshi vocalist / tabla player, a classical flautist, and a reggae guitarist, with Scott on keys and engineering, and John on multiple TB-303s. The duo played the piece to a pal, who said, “Listening to your music is like being in a psychedelic research lab” and the moniker was born. DJ Jonathan Kadish, the chill out resident at pioneering NYC rave, NASA, championed the track and subsequently commissioned four remixes for his label, Gyroscopic Recordings.

The tune has been elevated to legendary status in certain circles - due to it being a firm favourite of “The Godfather Of Chill-out”, the late DJ Jose Padilla. Jose at this time had a penchant for “ambient breaks / breakbeats” - seminal stuff like the work of San Francisco's Hardkiss crew and other Bay Area artists. According to close friend Phil Mison, drawn to the Chill Mix, Jose Padilla played and played Tarenah at Ibiza`s Cafe del Mar. It was a daily constant in Jose`s sets for several seasons, and he eventually included the track on the second volume of his essential compilation series honouring said White Isle shrine - put together in the mid-90s for the label React. Sealing the tune`s fate and making Tarenah forever synonymous with Jose and the golden, halcyon, San Antonio, Cala Des Moro, sunsets he soundtracked.

The 3rd Floor Mix, named after the location of the SUNY Purchase studio, is tribally-tinged uplifting progressive house - taking its cues from the contemporary Dutch imprints, Fresh Fruit and Touche. John Selway’s Remix (titled “Spy’s Sub Mix” on the original pressing) strips the track back to a cool, more minimal, jack - heavily influenced by the “bleep” sound of Sheffield`s Warp Records. The Sleepwalker Mix is beatless. Tailored from twisting, intertwining, 303 drones.

Following Tarenah, Scott and John continued devoting their life to dance music. Scott went behind the scenes, founding - alongside Jonathan Kadish - the famous Satellite Records dance music record store chain. He also ran the house and trance labels, Central Park and Pitch Black. In recent years, Scott has worked in artist management, and within the global music festival scene, primarily with Vh1 Supersonic and Ticket Fairy India, which has taken him to Mumbai, Goa, and Pune. John has had an amazingly prolific electronic music career, building a vast, and varied catalogue of productions - both solo, and through collaboration. From Disintegrator and working on Deep Dish`s debut single, to Smith & Selway and The Rancho Relaxo Allstars. Along the way finding the time to run labels such as Serotonin and CSM. Currently John is teaching and mentoring the next generation of electronic music artists at 343 Labs music school, while still producing forward-thinking techno and electro.

This is the first time Tarenah has been reissued in full on vinyl, and Midnight Drive are very proud to present this sublime underground classic once more. Reissued in full conjunction with John Selway and Scott Richmond, remastered by Curvepusher, London and distributed worldwide by Above Board distribution 2022.

Initially planned as a trilogy, given the success of this project, the series of 12” EPs featuring reinterpretations of tracks from the album “People Need People” - the brilliant work by Nicola Conte and Gianluca Petrella released in 2021 - closes with this fourth chapter, with the excellent contribution of Fred P. and his Interpretations.
Artist, DJ, Producer, Remixer and A/V Designer - born in New York and now living in Berlin - Fred P. has encompassed what it truly means to be an artist in the 21st century. With a discography growing exponentially year after year, he continues to push forward in his sound and his mind.
These two new interpretations of his constitute a little jewel in which Fred P. offers us a skilful blend where afro, jazz and house music create a cosmic spiritual journey at times nocturnal, suitable for the most sophisticated dance floors - in both cases with different rhythmic patterns, broken-afro for “African Spirits” and cosmic-house for “Tribes”, Fred creates here an open space, deep and simply at the centre of the music!

Back in 2010 Caribou's Dan Snaith hosted a remix competition for his track 'Sun' from his then-new album Swim. The winner was an unknown producer called altrice.

Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.

A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.

With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.

Speaking of the EP, altrice says:

"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I’m only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I’ve been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It’s surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..

Imagine a designer, who, after having traveled around the world, cuts her hair in a crew cut, sings « Voyage, Voyage » and will thus become number 1 in more than fifty countries including France, Germany, Spain, Russia, Israel, and many Asian
countries ! A real media phenomenon, Desireless hits a second hit with « John » before bowing out and heading off to other horizons.
We were no longer going to be deprived of the desire to listen to these now cult titles which met with dazzling success in the firmament of the Top 50 and European hit parades. This album, which includes 10 fully remastered tracks, is the ultimate testimony to the dazzling career of the New Wave diva and her collaboration with talented producers, such as her friend DJ Esteban, who delivers a super International Club Remix. The pop icon also offers an amazing acoustic version of her favorite hit, for the first time
on vinyl !
Limited Series, Colored Vinyl, including 2 versions of Voyage, Voyage.

Scene Unseen return with their second release, following the debut release from Jinjé and this time we see a release from a pioneer in the Chilean electronic music and Hip-Hop scenes, DJ Raff.

Having released more recently on the label Big in Japan (the previous label from the Scene Unseen camp), with his beautiful Resistancia EP, the label were keen to welcome him back onboard for the new project.

Raff’s routes were originally in the Hip-Hop scene back in his native, Chile. His influence of this scene cannot be understated, as his name appeared in the credits of over 50 Hip-Hop releases coming out of the country. Most notably with Anna Tijoux and Makiza, as well as seeing his own track ‘Latino & Proud’ used in the EA Sports game, FIFA 2012 and then later as the theme music for the Comedy Central show, Broad City.

As time moved on, so did Raff’s sound and he started to move into more of an instrumental focus, moving away from any vocals and the Hip-Hop rhythms. Since then he has released on Mutante Discos, Nacional Records, Wonderwheel Recordings and his own Pirotecnia label, among others. As well as remixing for the mighty Dengue Dengue Dengue, Landikhan and more.

DJ Raff has played events like Sonar Barcelona, Mutek.ES, Lollapalooza (US, Argentina, Chile), RBMA Mexico and Red Bull also invited him to mentor at the 2015 RBMA Bass Camp academy in Chile. His last album 'Movimiento' was released in 2017 on Nacional records and earnt him a nomination for best electronic music artist at the Pulsar awards in Chile.

Raff’s new EP for Scene Unseen, Estado Líquido, is an EP of true beauty once again, showcasing four tracks that combine his signature Latin American vibes with his hip-hop influences.

The title track opens the EP with the calm samples and inspiration from the sound of the ocean, an emotive nod to the people attempting to travel from Africa to Europe over the years and the struggles they have faced.

“Basta” translates to “Enough” in Spanish, this track is inspired by the large-scale protests in Chile back in 2019 and lasting until March 2020. An electronic hip-hop beat alongside a constant synth arpeggio that was something more common to his early productions. Casualidad is a reference to a more personal stage of Raff’s life, with soft, bright, and uplifting melodies flowing between more fine percussive works.

Final track, Ceremonia, combines percussive African rhythms with melancholic Synth leads and pads, alongside a deep solid bass line and repetitive chants. The repetitive chants and percussions hold together the opposite worlds of happy festive rhythms and nostalgic melodies, taking the song to a place where both feelings combine in harmony.

Artwork is made by DMNC (Francisco Meneses) a designer, art director and VJ from Santiago de Chile. Previous work is linked to 3D animation and he actively collaborates with various electronic music projects across Latin America.

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."

"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."

The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."

Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.




1981 - 1990: Future Sounds of Now

In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.



Early 80s

Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.



EBM Wave - Mid 80s

From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.



US House - Late 80s

You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.





Afrobeat

Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.



UK-US-Euro - Late 80s

Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.



Balearic - Late 80s

Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label. The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Time to Play Records strikes back with a new 4 tracks ep, late night club-ready, with heavy bass-kicks tracks straight to your chest.

Filippo Tazzer, label manager and executive producer, continues in his search, musical sensitivity and evident production skills. After having entrusted the baptism of the label to Reekee and Colosimo, the moment is propitious to introduce another Italian Producer:
Phonorem, fresh with a new album called “Algorythm”.

Phonorem production skills in those 4 tracks embrace different styles forged by his 90’s hip-hop and drum and bass roots, by mixing synthetizers and drum machines with samples.

SEAMLESS, the track that gives the EP its title, is a deep-house track with double bass – bassline and atmospheric scenarios by manipulating old Italian movie soundtracks samples.

PREE, is a downbeat track which made homage to DJ Premier beats, with some melodies created with a Chinese hammered dulcimer.

FLIP DOWN gives a high contrast experience: fusing a raw drum machine rhytm with dreamy pads and a mysterious vocal.

LOW FAT is a heavy bass kick track with some sythetizers-melodies with a story to tell. With a happy end :)

Hailed by The Guardian as “the hopeful new voice of her super-sad generation” Arlo Parks released her second track in January 2019. At the time of release Arlo told Clash Magazine: "When I look at my generation I see a kaleidoscope of dejection, passion and anxiety – there’s this strange mix of sadness and intimacy that saturates Generation Z. 'Super Sad Generation' was inspired by the time my friends and I sat on the green at sunset, half wine drunk and ugly crying for no reason in particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from Space Song by Beach House and Changeling by DJ Shadow.

"The British songwriter captures the specifics of being young and messed up like no-one else" - Noisey

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

EMA’s Woozy label returns with Sha Ru’s Match My Sway EP; a powerful club record that sits proudly in the canon of modern protest music. Dubstep-influenced electronics meet spoken word on the continued struggle of oppressed nations’ fight for liberation. Comes with a slamming Walton remix, with all artist profits going towards the Kyiv Angels and Repair Together charities in Ukraine.

Sha Ru are a New York-via-Berlin based duo renowned for their deft mix of spoken word and club electronics, gaining notoriety thanks to their exhilarating productions and renowned live, hybrid and DJ sets. Having spent most of their time based between two different countries, the covid pandemic unexpectedly united the band in Belarus and subsequently Ukraine for an extended period of time. They quickly found themselves immersed in each country’s respective electronic music scene, building strong relationships within each community. It quickly became apparent that both countries were actively fighting for their future freedom, and the duo felt compelled by the unity they experienced in this to respond with music. This resulted in Match My Sway, a record chronicling resistance both lyrically and sonically that found a suitable home on EMA’s impressively futurist-leaning Woozy imprint.

The EP opens with Temporary Iteration, a fierce steppers track with plummeting subs that chronicles a moment of transition into clarity by focusing on the ‘now’; staying true to your belief by moving directly towards your goal together. Not Fluctuating ups the sonic ante with hefty kicks, drill snares and potent throbbing bass, while the vocals describe the feeling of ultimate resistance in the name of seeking the truth.

Side B enters with Synced Energies, acting as the EP’s thrilling climax. Percolating synths pogo around a 2-step beat providing chest-gripping catharsis. Lyrics repeat a mantra of unity, refuting divisions. Tectonic and Ilian Tape affiliate Walton sees us out with the intense stuttering rave mechanics of his Not Fluctuating remix, a modern techno monster that deserves to be enjoyed on a 10ft tall rig; a complimentary take on a powerful original.

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Radio Slave teams up with Nez for all-new versions of the club smash, ‘Wait a Minute’.

The first single from Radio Slave’s forthcoming 2023 LP, ‘Wait a Minute’ sees the UK legend pair with grammy nominated multi-hyphenate Nez for a hard-hitting, rap-infused house track that has become a staple of the handful of DJs who had upfront versions this summer.

Initially meeting via Radio Slave’s incendiary remix of the FELIX DA HOUSECAT co-produced ‘Lift Off’ released via Three Six Zero/Sony in 2021, LA’s Nez and Berlin-based Radio Slave made plans to work together as soon as possible, and a new version of 2020’s ‘Wait A Minute’ is the result. Featuring remixes from Rekids’ own Mark Broom and coming complete with an instrumental version, Radio Slave feat. Nez ‘Wait A Minute’ is released through Rekids on 26th August 2022.

Radio Slave, aka Matt Edwards, is responsible for some of the most recognisable underground dance tracks of the past 20 years, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and many other timeless cuts. His collaboration work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Nez has worked with the likes of Chance The Rapper, A$AP Rocky, Tinashe, ScHoolboy Q, and many more before dropping the dancefloor focussed ‘Midnight Music’ EP in 2021. Growing up in Chicago, Nez absorbed the rich musical lineage of the Windy City, and now distils these into his own unique creations and collaborations.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

As one of the three co-founders of Washington D.C. production and DJ trio Black Rave Culture, James Bangura is no stranger to situating electronic music within its most purposeful and potent contexts. With this new duo of tracks, however, Bangura taps into a deep, personal internality, metabolising visceral experiences and personal transitions into unexplored phases of his musical life.

The bass-forward “Harrar” is a complex organism which operates on two planes: a sweat-drenched 150pm symphony of synth pulses, fidgety percussion, shimmies and distorted vocals, that falls into lockstep with a
meditative, dubby bass tone that calmly swells and recedes. Emerging out of Bangura’s high intensity hardware jam sessions with friends and collaborators, both the depth and energetic fizz of “Harrar”’ are signified by its name, borrowed from Harrar Coffee & Roastery--a beloved Ethiopian coffee house and community meeting place in Washington D.C. that radiates warmth and familiarity.

“Witness Dub” occupies less of the senses, exploring a state of liminality through a contemplative deep house signature. Having emerged from an extended period of active duty in the military, Bangura had to navigate civilian life for the first time, causing him to process multiple culture shocks that stretched across culture, language, communication and identity. “Witness Dub” finds Bangura at this crossroad, juxtaposing the steady propulsion of kicks and drums with pensive minor key chords, as he begins to explore the other side of the self, letting the energy guide the music.

Riviera Records presents XTC002: The Atlantic Connection with non-stop flights to X-Coast from Ireland, UK and USA.

The first route offers a very intuitive bass and breakbeat driven ride with a Tama Gucci signature, sensual vocals cutting through the airspace. The second journey is flying over (hard) house territory
with DJ Torture serving the snacks.

The B side we have a UK to X-Coast red eye flight with a trance edge courtesy of Capt. Ejeca. B2 is the only supersonic flight offered at this time navigated by Tommy Holohan: a shuffled up Reese bass powered techno from Ireland to X-Coast in just 4 minutes and 57 seconds - buckle up.

Attention: BPM changes at short notice!

‘Advanced Process’ presents itself as a distinguished LP, oozing with Marcello Giordani’s innate talent to evolve the classic Italo Disco sound into consistently ear catching productions of the future.

With a warm welcome from the shimmering synths of ‘Morning News’ and a defined, driving bassline, you know you are safely sitting in Giordani’s passenger seat.

Crisp, analog drum machines and glistening synthwork are a constant.

Giordani captivates you with compelling arrangements and considered hints to electro in the likes of ‘Metamorphosis’. Powerful vocals from Fred Ventura and Ready In LED feature on the two alluring singles ‘Mysterious Calls (In The Night)’ and ‘Fase Rem’. Encapsulating, intelligent acid work is heard in ‘Forbidden Pleasures’. Marcello’s clear love for analogue authenticity is at the forefront of this LP.

Delicately positioned arrangements and intelligent melodic pay offs in tracks like ‘Terza Classe’ are a plenty. A seasoned knowledge and intuition of the nature of the nightclub is apparent with the energy sustained throughout ‘Advanced Process’. A beautiful melt of golden era Italo Disco and Detroit Techno is heard in the sweltering melodic brilliance of ‘Via Mecenate’.

The title track is an immersive journey preparing you for the final side of the LP.

Sizzling keys and pulsating basslines drive this record making it hard to lower the volume. The dazzling, ethereal chimes of the final track ‘Aperitivo In Gracia’ are enticing and filled with picturesque mediterranean imagery.

Being no stranger to the inner workings of a packed out dancefloor Marcello Giordani delivers an immense, infectious LP. ‘Advanced Process’ truly lives up to its fitting title.

Cypress Hill is widely respected and considered to be amongst the main progenitors of West Coast rap and Hip Hop in the early 1990s. With mega-hits like "Insane in the Brain", "I Wanna Get High" or "Tequila Sunrise" they crossed-over to mainstream breaking all records for a rap band up until that time. Cypress Hill were the first Latino-American hiphop group to have RIAA Certified platinum and multi-platinum albums. As musicians they became famous for the crazy sounds produced by DJ Muggs and Bobo and the stoner sympathetic lyrics of B-Real and Sen Dog. They redefined and shattered the boundaries of hip-hop, crafting gutter-dirty tracks that fused deep bass lines with blissful, stoned-out melodies and aggressive hard rock riffs, creating a unique imprint. This is an esential and powerful weapon for all the Hip Hop creators and djs.

We are proud to finally present you the first release of our label. Starting with a powerful vinyl by Dutch newcomer Y-NØT.

The melodic, more modern A-side is a mix of classic synthlines and modern drums, while the B-side consists of two pure, timeless peaktime tools. The EP already gained early support by DJs like Amelie Lens, SHDW & Obscure Shape, Klangkuenstler and many more.

Remixes by: Cynthia Spiering, Jayat & Lamin

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

In the early '70s, after relocating from his native Genoa to Rome, young saxophonist Gianni Oddi was beginning to establish himself as a super-cool arranger thanks to a series of cover albums recorded for RCA Italy. They contained funk, soul and easy-listening versions of contemporary pop hits, but Oddi often managed to include one or two original compositions of his own – like the ones contained in this new instalment of Four Flies's 12-inch vinyl series for DJs.

The luscious funk of Dreamin', on side A, shows Oddi as an Italian master of groove. Warm, sexy and nocturnal, the song combines breaky drums with tantalizing vocals (provided by Baba Yaga's Isabella Sodani), adding a romantic, dreamy vibe in the special with strings and piano (the latter played by Oddi himself) that are at once reminiscent of soulful black music and influenced by the melodic tradition of Italy.

Geronimo, on side B, is almost a tribute to Manu Dibango – a favourite of Oddi's at the time. Here, Oddi's signature groove, at once refined and infectious, is driven by Mario Scotti's pulsating bass, Silvano Chimenti's wah-wah guitar, Oddi's own persuasive sax and, in particular, sound engineer (and former drummer) Enzo Martella's 'moose call' sound (made by sliding a thumb across the top of a conga). In a nutshell: Africa reimagined in Via Tiburtina (the street in Rome where RCA Italy's recording studios where located).

Both tracks are perfect examples of Oddi's sound and... Style (yes, his 1974 album for RCA Italy's SP series). The same sound (and style!) characterizes masterpieces like Le Montagne della Luce (co-written with Romolo Grano), La Sbandata (the funky theme from Domenico Modugno's soundtrack, which Oddi arranged and produced) and Mondo di Notte Oggi (co-written with Gianni Dell'Orso). All of these have been released by Four Flies, which continues to celebrate this fantastic groove maker.