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Like a winding system of trails and paths cutting through a digital forest-scape, M. Sage's Paradise Crick is shaped by time. Full of wonder and charm, designed patiently and from a rich, curious mulch of synthesized and acoustic sound, the versatile American artist and magic realist's new suite of music is an imaginary destination and a pastoral fantasy that envisions the natural and fabricated worlds as one. Matthew Sage is a musician, intermedia artist, recording engineer and producer, publisher, teacher, partner, and parent. Assembling a sprawling and idiosyncratic catalog of experimental studio music between Colorado and Chicago since the early 2010s, recent highlights include The Wind of Things (Geographic North, 2021), an ensemble-recorded expression of bow-splashed nostalgia, and the four seasonal albums of Fuubutsushi, the improvisatory ambient jazz quartet he formed with friends from afar in 2020. Sage renders projects with nuanced velocity and a completist sensibility _ when it's finished, it's done _ which is what makes Paradise Crick, his debut for RVNG Intl., a compelling outlier. Sage first staked his tent in Crick's conceptual campground five years ago from his home studio in Chicago (he's since returned to Colorado, home to the mountains and prairies often personified in his work). He had just read Richard Brautigan's Trout Fishing in America, a kaleidoscopic reflection of pastoral America's shifting identity by way of magical fishing sojourns. Inspired by that feeling, of getting lost but finding oneself in through the outdoors, he amassed over seventy demos documenting a fictional soundtrack for camping. Pull up to this park, and the sign might read, "Welcome to Paradise Crick. Fire Danger Is Low." The sequence, pruned down to thirteen tracks, courses the dewy mornings, afternoon hikes, and firelit nights of a weekend expedition. While Sage is not a filmmaker, he views the method of making this album as a similar form of world-building via structure, narrative, formal elements, and editorial refinement. Contrasted with his collaborative craft, here he is a sole auteur reclined in total autonomy, able to improvise scenes and implement special effects at will. A parallel precedent for such unchecked imagination in the M. Sage canon is A Singular Continent, his 2014 album that tilted its compass to a faraway land. Where Continent built its world layering samples as composition, Paradise Crick deploys a balance of accessible song structures with experimental instrumentation and sound design. Speckled with harmonica, autoharp, chimes, penny whistle, voice, hand percussion, and other mysteries, Crick's texture is treated as a sensorial adventure; the swamps gurgle, the lakes glisten, and the valleys breathe in robust HD. The rhythms are loose and buoyant, bursting with a few `kick and snare' moments shaped by Sage's lifelong love for drumming and headphone prone electronic music. Crick bumps more than most anything he's done before; crackling static pulses and lush vibrations reveal an intrinsic groove, a hidden beat map. In the landscapes of Paradise Crick, science and magic co-exist, 5k boulders and midi frogs share the frame with real-life memories of Midwest camping trips and the desire to feel extra human in a digitized space. Sage strived for "nature in the holodeck" but couldn't help leaving fingerprints in the simulation, and it's these traces of spirit and character that give Paradise Crick its strange allure. The album's bubbling sense of play, melody, and timbre takes cues from left-field electronic lineage; synth pioneers like Tomita and Raymond Scott up through the more expressive pop tendencies of Woo, Stereolab and the Cocteau Twins, and into contemporary composers like Sam Prekop. The album's vocabulary is uncomplicated; the gestures are sweet and inviting, intended to lull the listener. As much as Sage continues to be an experimentalist by nature in his work, with Paradise Crick, he spins a narrative. Not necessarily a concept album, but rather an invitation to take off for a weekend. That's the modus operandi down here in the Crick, we stretch out. M. Sage's Paradise Crick will be released May 26, 2023 in LP, CD, and digital editions. A portion of the proceeds from this release will benefit Earthjustice, the premier nonprofit public interest environmental law organization.

Jimmy LaValle’s The Album Leaf has spun from solo outlet to full band and back in its nearly 25 years. His acclaimed catalog spans releases for labels such as Sub Pop, City Slang, Relapse, and others. He also composes music for film and television, scoring over 20 projects (narrative features, documentaries, and TV series) since 2009. The cinematic sensibilities of The Album Leaf were present from the beginning. His 1999 debut introduced the start of a signature sound: melodic and meditative electro-organic soundscapes constructed with guitar, percussion, Rhodes, and field recordings.

His seventh full-length LP, and first since 2016, arrives in 2023 via Vancouver’s Nettwerk Records. FUTURE FALLING finds LaValle working with an array of musicians, shaping slightly darker, more spacious, and synth-driven songs with contributions from Bat For Lashes, Kimbra, and many others.
The music registers a shade darker and more synth-driven than most moments in his acclaimed catalog, a bridge between shadowy, cerebral terrain and dreamy precision pop, where softly percussive frameworks meet shimmering sound design and emotive instrumentation.
LaValle sees the construction of FUTURE FALLING as less conventional than past work. Contributions were done remotely with a “throw everything at it” mindset, making LaValle the arranger of layers from all over: drums, synths, horns, violins, voice, and more. LaValle created a pastiche of these layers and elements; in some cases even moving vocal takes to new tracks entirely. Without the in-the-room dynamics, he had more time to experiment, adding and subtracting ad infinitum.
The album opens on “PROLOGUE,” an evocative, slow-building instrumental that rides a pattern into a symphonic sea of static. Keys and horns glide atop the rhythmic pulse of “DUST COLLECTS,” setting the contemplative scene for “AFTERGLOW,” the record’s most pop-minded performance. Here Kimbra, the Grammy-winning New Zealand singer-songwriter, renders a striking recollection of past love as percussive elements shimmer and swirl.
A plaintive piano line moves throughout “Cycles 19.9” encircled by light ambient washes, both a valley between two peaks and a powerful composition in its own right. “Future Falling” follows; with origins tracing back to 2015, the track embodies the full sonic journey LaValle has taken. All the hallmarks of The Album Leaf — melodic builds, vivid sprawl, tonal shape-shifting — assemble to a blissful finish.

For the next stretch, “Cycles” begins with a uneasy Rhodes loop that builds and erupts into a wall of texture paving its way into “Give In,” where LaValle models a movement that begins subtle and measured before curving up with skyward, percussive bursts (“Stride”) and settling back down to the album’s back-half centerpiece, “Near” featuring the acclaimed English artist Natasha Khan aka Bat For Lashes. “Do you feel me near?” she sings into a mist of widescreen synths and soothing, distant drum beats as if searching through the dark.

Bowling out of Offenbach with a swing in his step, Dogpatrol returns for round three on Sneaker Social packing another four-strong payload of mutant rave clout. If you caught the previous missives then you should have some idea of where he's coming from, getting freaky with rave signifiers and laying down ear-snagging swerves to juice up the dance good and proper.

On this latest release we dip-dive into the grime-licked garage-tech shuffle of 'Non PGR' only for the script to get flipped at the mid-section in favour of diced up Think breaks. The pressure doesn't ease once Nasty King Kurl comes on board for a rolling remix strapped to a disgustingly massive kick drum impulse.

'Sassafras' takes a leaner approach to bleepy breakbeat contortions on the B side, holding down the arrangement and letting the track rip when everyone's wound up and hungry. NKK returns again to partner up with our resident Dog for the collab joint 'Creepin', chopping out the RnB samples and whipping up square wave synth flurries shouting out that overlooked substrata of dubstep - the Purple sound. It's a cheeky hint at the deep-level affinity for all rave gear which powers this EP, another sure step on from your favourite canine soundsystem practitioner.

Lime green (yellowish?) vinyl LP Finnish noise rock duo NYOS deliver a clairvoyant Celebration of the present, written at a time when that present was shimmering just like the feathers of the cover art courtesy of animal photographer Zac Herr. Combining the danceable grooves of Battles with Sonic Youth - infused noise bursts and the yearning electric melodies of And So I Watch You From Afar, Celebration is a defiantly joyful, loud, and festive affair. A promising cure for the drudgery of the times we live in. Recorded by Brooke in his own Tonehaven Recording Studio, Celebration is the latest testament to the undeniable synergy these musicians have built over the past seven years. With the material largely written before the advent of corona, Celebration is a reflection of life before lockdown, filled to the brim with infectious grooves and glaring melodies. "We tried for something upbeat this time to contrast the times," explains Tom Brooke about the recording process, which in turn did take place during pandemic life. "We always love it when people can move to our music, so a big focus for the record was to embrace the dance vibe and go for it." This collection of eight colourful, jarring tracks is rife with small nods to dance music throughout the world. Take a song like "Light" with its complex syncopated drum pattern that recalls the Amen Break so typical for drum and bass music, but listen closely and the song reveals an off-beat skank that flips over into experimental reggae territory. Similarly, a track like "Tucano" recalls the experimental IDM of Bristol-based producer Vessel, while "Gold Vulcan" offsets a gnarly gyrating guitar riff with Latin- American and oriental melodies. The attention to detail on Celebration is phenomenal. The album contains some of the band's most layered compositions to date, but it is also the first NYOS record to feature improvised live recordings, the aptly named "First Take" as well as the celestial "Cloudberry". These musical sketches show two musicians at the apex of their connectedness. Every time that one of them appears to be taking a somewhat questionable turn, you'll find yourself carefully and respectfully readjusting your own interpretation of the song's intention - and what NYOS are all about.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This first in the series pays homage to the style of music heard in the Oblivion releases that Source Direct delivered through Bassment Phil’s Street Beats imprint between 1995 & 1996.

Forbidden Affections is a classic Deep Amen track, made with tracks like Sands Of Time and Secret Liaison very much in mind. Right from the onset where the pads are given plenty of time and space to draw you in, it is completely faithful to that mid-90’s SD style. All the trademark break switches and deep 909 sub lines are present, and the palette of sounds are all drawn from those same sources that first inspired the SD sound (as such it is Atmospheric Jungle with a strong Techno persuasion). The finishing touches come from the achingly gorgeous female vocal ad-libs that were also such a trademark of the early, more atmospheric SD tracks.

Hidden Rooms is perhaps even more authentically SD, especially with its focus on arrangement, and the way it uses the selection of samples that are once more drawn from those same Deep Techno sources. The interaction between the rolling curls and cuts of the Apache at the start, and the crisp injection of the Think breaks at the drop comes straight out of the early SD portfolio. The bass drops down super deep underneath the drum work, punctuated by exposed electro hits and well-chosen samples. It is the haunting keys nearly 4 minutes in however that give this track the authentic SD twist more than anything, calling tracks like Fabric Of Space and Made Up Sound very much to mind.

Drifting Through is the final track of the E.P. with its beautifully sharp rolling Hotpants/Worm combination. This track leaves plenty of space; dubbed out to just breaks and bass for much of the duration, with the occasional injection of an obscure electronic sample, or the sweet vocal ad- libs to hold the tune together. Further down the track there is a touch of the Jazz influence as the Rhodes chords add an extra level of harmonic warmth.

Look out for Volume II where we will be returning to the distinctive flavours of the original Mirage releases on Odysee!

Third release in the 'first time on vinyl' trilogy, following the quickly sold out 'Pink Lady Lemonade - You're From Outer Space' (REPOSELP102) & 'Myth Of The Love Electrique' (REPOSELP111)
Here we have the bands classic 2007 double album 'Acid Motherly Love' pressed on vinyl for the first time.

This 2LP set is pressed on transparent orange vinyl, and comes housed in a fully redesigned gatefold sleeve complete with obligatory nudity.


'Acid Motherly Love' is another OUT-THERE ride through Acid Mothers weird and psychedelic world. Guitars howl, riffs grow BIGGER with each minute and brains get fried along the way. Recorded under falling ash and burning roof tiles, 'Acid Motherly Love' features every dimension of their legendary underground sound - from wild riff heavy jams, to quieter acoustic passages and spoken monologues, all capped by the trance inducing 15 minute-plus epic 'Santa Sanrodriguez'.

Blanc Manioc present NYAMAKALA BEATS N°3 their third compilation, and frst-ever vinyl release, due in the spring of 2022.
The label, once again, brings together its extended global musical family - Cardozo, La Dame, Asna, Mc Waraba, Praktika, Aunty Razor, Sheitan Brothers and Pedro Bertho. Blanc Manioc also showcase new family members - Sly A10, Chabela, Pangar and AnyoneID. Rising starts of Abidjan, Oyoki Onanayo and Stelair, and South African heroes, Aero Manyelo, Shujaa Bora, Pulo N'Dj and Mc Swordman also join the family with contributions to the release.

Running parties, festivals and courses in Abidjan (Le Maquis Electroniq), Blanc Manioc pioneer extraordinary talents between Africa and Europe. As well as presenting their frst vinyl release, Blanc Manioc will launch "Blanc Manioc party” this year, a live event following the "Nyamakala" principles (Nyamakala" means "the antidote of evil” in Mandinka) curing the people through dance.

x2 Gatefold Black LP Vinyl - Recorded during Pearl Jam’s Melbourne Park show on March 5, 1998 during the Australian tour in support of their 3rd studio album Yield, the highly sought after Give Way will be released on vinyl for the first time. The 17-track album will be a 2LP gatefold on black vinyl including live versions of “Given To Fly,” “Faithfull,” and “Do The Evolution”. The title Give Way is a nod to the Australian counterpart to the United States Yield sign.

A musical project that was very close to the heart of Jon Lord. High-quality British blues at its finest. In 2010, Pete York (Spencer Davis Group, Hardin & York) asked Jon to join a concert that was named the Rhythm & Blues Allstars. As a result of having incredibly good time together, the band decided to form the Jon Lord Blues Project. Six successful musicians, old friends who have known each other since the 60s and 70s and whose musical past reads like the "Who's Who" of blues and rock music history: Deep Purple, Spencer Davis Group, Chris Rea, Whitesnake and many more. Recorded at the Rottweil Jazz Festival in 2011, Jon Lord, Miller Anderson, Maggie Bell, Colin Hodgkinson, Zoot Money and Pete York presented classic blues songs as well as contemporary compositions, such as by Deep Purple and Tom Waits. Being long out of print and sought after, this incredible live show will be available for the first time ever on blue coloured Vinyl, pressed on 180 gramm and housed in a gatefold with printed inner sleeves.

The album showcased Cornfield's knack for crafting deeply personal songs with an observational tone and witty lyric delivery. She took these heartbreakingly relatable songs on the road, playing numerous shows & festivals across North America and Europe, including opening for Pedro The Lion, Stars, Sarah Harmer and others.

On Cornfield's new album, Could Have Done Anything, she teamed up with producer and Bonny Light Horseman member, Josh Kaufman in Upstate New York, first at the stained- glass- tinted Dreamland Recording Studios, then at the nearby Isokon Studio, run by engineer D. James Goodwin (Kevin Morby, Whitney) and his assistant, Gillian Pelkonen. Kaufman and Cornfield played every instrument themselves, channeling the energy of her favorite classic records,
from Elliott Smith's Figure 8 and Jeff Buckley's Grace to Neil Young's Harvest -- albums where the listener is simply carried by the songs, and their musicians' beautiful playing. Standouts like "You And Me" highlight intimacy and absence, while "Gentle Like The Drugs" captures memories from Cornfield's spring 2022 tour with Pedro the Lion - her first time seeing sunsets in Arizona.

"As I write these notes sitting on my balcony in July 2022, it has been more than 9 years since the release of my debut album and more than 11years since it was recorded, the time since has been a personally tumultuous period of twists and turns - retreat, reflection, realization, reassessment, therapy, triumph, trial and error - entangled in a decade-long creative block that had me questioning whether
I would ever be able to compose again and though I felt there was so much I wanted and needed to say, I felt I had lost my voice, or perhaps never had one in the first place. A constant knot had grown tighter and tighter within me over time, but I did not understand what had created it or how it might be undone. In 2018, shaken awake by the collision of two transients, I suddenly saw in a new light old
patterns whose familiar presences I realized I had felt for much of my life, but had until then never seen for what they were. Following a third, I finally found the humility to surrender, and as I began re- examining and confronting myself, I slowly started to discover new answers - and new questions to ask.

Then the Covid-19 pandemic happened, and the world stopped. Like so many of us caught in the new eerie calm, I retreated into inner spaces. I began revisiting sketches of ideas I had accumulated over the years, and finally, very, very slowly, new music started to come. " - Jussi Reijonen.

"Electrifying and deeply resonant, monumental and profoundly personal, Reijonen's five- movement suite is a beautifully crafted, remarkable journey of sound and emotion performed by a knockout nine-piece ensemble." - Monarch

"He's written one hell of a piece." - The Arts Fuse

"On this remarkable and ambitious new recording, Reijonen delivers an epic transcultural suite that feels as deeply personal as it is expansive and farreaching." - All About Jazz "a remarkable sophomore album" -The Boston Globe

"This is an album meticulously pulled together into a dense fabric of diverse musical threads. It merits repeated listening; with each fresh listen, the richness of Reijonen's intercultural vocabulary becomes more apparent." London Jazz News

"Even in our present jazz moment, when the art form is worldwide and vital, albums that come as complete surprises are relatively rare. Three seconds Kolme Toista is a stunner." Jazz Times

"Three seconds Kolme Toista is spellbinding from beginning to end, and full of virtuoso performances." All About Jazz

Swedish alternative rock group Bring the Hoax are set to release their
debut studio album "Single Coil Candy" in May 2023.

Combining sweet melodies with fuzzed out guitars into colorful, energetic, and dynamic rock music, the album contains the four tracks from Bring the Hoax's self titled EP from 2022 (previously only released digitally) plus six new, until now unreleased songs. Produced and recorded by the band members themselves, the album offers massive soundscapes inspired by the punk-, indie- and grunge-era
of the 90s'. Perfectly capturing the dynamic nature of the Stockholm based band, "Single Coil Candy" hits the sweet spot where nostalgia meets modern expressions, and where unpolished, distorted, and riff-based rock meets beautiful, bittersweet vocals and delicate nuances - it's everything you want in an actionpacked 2023 indie rock record.
The album is mixed by Markus Ingberg and mastered by Hans Olsson Brookes.

The album features cover art by the band's bass player Sara Engström.

A self- described "semi- professional" musician since he was 14, Barna played drums for Deaf West Theatre's Los Angeles production of Spring Awakening and on the national Broadway tour for The Producers, but it took a trip to Berlin's Club Legarré, and its English-speaking open mic, to find his own voice as a songwriter and performer. His new album is a collection of stories, vulnerable and
openhearted, of his New York. In his words, "It's a character study of the bar itself.

It's a safe space, but there's alcohol, drugs, sadness, and your own demons."

Recorded in Rochester, Seán wrote late into the night as producer (producer!) and his kids slept. Moving fast, Macri Park became the center of a song cycle documenting giddiness, grief, history, and everything in- between. He enlisted friends, including Counting Crows' Adam Duritz and David Immerglück, harpist and songwriter Mikaela Davis, Danielle Ponder, and Maria Taylor, to bring his world to life.

A lost Chantays album that's locked in and leaving a foamie! A Dawning Sun, largely recorded in '66, sees the originators of "Pipeline" riding another pearler of a platter! These 13 lost tracks come from the tape archive of Richard Delvy (Belairs, Challengers) and features the bands unique take on "Mr Moto," some new surf anthems and even a trio of vocal cuts for when you just hit out or the wave eats your lunch! It also features a killer instrumental cover of The Fortunes' "You've Got Your Troubles.

Lost for over 50 years, these sound waves are finally ready to ride!

Up and next on the releases are Decka & Roseen with "Keynote", introducing their first ever collaborative musical project.

With "Message From The Error System" we dive into an abyss of icy blue vibrations. Just like the alternate rising and falling of the tide, so does this track expand and breathe through a cyclical recurrence of the groove... Cycles and repetition. A cinematic, abrasive polyrhythm will drown all your senses as the
frequencies increase and increase. And so does the tension. Until... all of a sudden.. The frequency is lost... no more life signals... You feel alone in the cold. You are scared. But slowly... Hope grabs your hand from the water... takes you on the shore and slowly dries your tired and wet body.

The storm has passed. Clearing our heads from this apocalyptic sonic journey, B1 jumps in with a distracting and high energy looped cut. A classic, dance-floor oriented percussive and versatile track. Once again, repetition marks a fundamental element of the KEY family.

Last but not least comes B2 "Captivate"- which is a sort of synthesis between the dreamy A1 and the minimalistic composition of B1. A soft and mellow synth line is seduced by playful high hats into a redundant, cyclical game of sounds.

Rave Or Die's sixteenth release signs a 100% frenchies masterpiece that will leave you breathless! As an absolute must-have for anyone who loves old-school music, this collectible double 10" features tracks from techno pioneers The Hacker, David Carretta, Terence Fixmer, and Umwelt.

Characterized by a fierce atmosphere over a classic Rave construction, The Hacker's highenergy "Reactor" on A side signs a nod to Circuit Breaker style. No doubt it will get your blood pumping!

David Carretta on the flip injects some New Beat and electro touches on his 4/4 flying gem, adding a unique flavor to the LP. Gold "Invasive Machinery" sounds like the perfect example of how the old and new can come together to create something beautiful. Terence Fixmer's "Detune My Brain" coming next is a milestone of a banger, with modulated vocals fusing into a sonic assault of mental acid sororities propelled by pounding beats. Ace!

Lastly, ROD mastermind Umwelt signs with analog "Mind War Acid," a vibrant tribute to Chaos A.D.'s "Mind War Electro" on Rephlex. This absolute tour de force driven by an insane 303 will make you want to dance until the end of world thanks to its gloomy and apocalyptic melodies.

Each track on this compilation is unique for sure, but they all come together to create an unforgettable listening experience covering every shade of the techno spectrum. Don't sleep on this one!

This is a Double LP Gatefold Silver plate !

Bacchus Harsh is the alias of Melbourne based multi-disciplinary artist Christian Bishop. Predominantly known in international music circles as Australian breakcore pioneer Xian, Bishop has expanded his already widescreen musical horizons to embrace an even broader creative cosmos under this new alias. Bacchus Harsh is the sonic embodiment of occult-themed electronics and deconstructed club music. De-territorializing exotica, occult psychedelia and industrial techno with polyrhythms and distorted blast beats, Bacchus Harsh confuses the dance floor.

Caveat Tumultum is an expansive double LP of icy post-breakcore industrial heaviness, where hallucinogenic cinematic atmospheres collide with sample-driven mania and complex mechanical rhythms. The resulting album is a 60-minute masterclass in foreboding electronic production, dystopian sonic manipulation and the thrillingly visceral experience of true underground party music.

*INSTOCK AND SHIPPING* The North-West’s legendary electro-prog-pop experimenalists a.P.A.t.T. are back with their first studio album in 6 years. a.P.A.t.T. are an English ensemble generally known for their avant-garde music and multimedia works. Redefining notions of failure and success with electronic art pop. Since their first release, (e.p.) in 2002 a.P.A.t.T. have released over 7 albums, numerous singles, 100’s of music films; received commissions from a Smörgåsbord of leading arts organisations, created a feature-length film and even starred in and composed for a BBC TV Sitcom. The last album Fun with Music (2016) saw the band more refined and focussed than ever… “Their most accessible work yet..in a freaky kinda way” said BBC’s Stuart Maconie. This album discusses the ‘I’ the ‘WE’ and the confusing notion of self. 6 years since the release of the last a.P.A.t.T. album and the world seems to have changed. “It’s different now” muses General MIDI when asked, “We were all doing something pretty similar in some respect. We changed. We struggled. We adapted. We grew. We felt more collective than ever…maybe?” ‘We’ is an adventurous collection of passing thoughts, barely laughable references, pop songs andsonic experiments. It’s a look at people. It’s a look within.

Mysterious Argentinian Deep Spectrum delivers an EP with synthpop and italo influenced music for the pool/porn movie set/dance floor/living room. Yes that's right, this is universal music, suitable for all kinds of situations. Forever Free could be an instrumental b-side of a Soft Cell or Vicious Pink record while Para? so Fiscal (fiscal paradise) holds the middle ground between an 80s soundtrack and an underground italo jam. Punch Line on the flip is a smooth dance track where this talented new artist takes it to an even more sensual level. Fans of sleazy electronic futurism and early Legowelt should not sleep on this release!

Altered Circuits dives deeper in the world of playful and versatile club music with roots in the early 90's! There's an obvious parallel between Ildec's DJ performances and his own music.

Part of a scene with a focus on extended, broad-minded sets, the Ibiza-based artist lets his yearning to unearth and play obscure gems flood into his production process. The "Ahora Si EP" is testament to this adventurous spirit as it tackles a wide array of tempos, styles and moods.

Opener "El Principio" and closer "Grt Plschr" display Ildec's fondness of hazy, recondite atmospherics. With its sustained ambient chord, delay-washed newsreader samples and manipulated themes, the former sounds like a fever dream radio bulletin.

On the latter, a broody motif meanders alongside loosely played drums, while a buried bass guitar occasionally reveals itself. "El Break Del Dia" furtherly explores some of these elements, but this time with the dance floor front of mind.

Languidly morphing bass sequences and staccato synth salvos build up anticipation. When a slowly emerging, ceaselessly arpeggiating organ lead finally materialises, the track explodes. Natural flow is partly traded for sturdier form on the remainder of the EP. "El Break De La Noche" lets an ever-modulating lead groove alongside rigid, dry drum beats.

Descending tom fills, truncated squeaks and a top layer LFO gone haywire complete this sparse yet exciting cut. "La Nueva Version" has a similarly efficient bassline as its bedrock. An interplay of zaps, risers, transposed percussion, and other dusty cartridge samples pulls it left and right while subtle disorienting hints of speech thicken the mix.

On "Modificacion", Ildec moulds his take on progressive and tech house into its toughest shape. A druggy, bleepy lead twirls in and out of the track, carried by the road-tested combo of a taut drum pattern and a piercing backbeat bass. Ominous chords and equally menacing vocals mark its aim: to create tension in the club. It is a standout on a diverse, daring EP we are delighted to present as the fifth release on our label.

Blending elements of twisted electro with the refreshing sound of early 90's rave culture and IDM on the highly anticipated debut album from Breton artist Voiron (a precious gem in the French underground scene). 'Ingenieur du Son' features 12 bold tracks in Voiron's unique style which is evident in every piece. Uncompromising in his approach, Voiron stays true to his vision without being swayed by external influences. From light and upbeat dancefloor tracks to experimental "idm" sounds, Voiron is for everyone... Embark for Voironland! (But don't hesitate to long as the vinyl release is limited!!) (Artwork by Acid Hazel, Berlin). Tip!!

* 300 COPIES FOR UK/EU* With a friendship stretching back nearly 20 years, it strangely ended up being a couple of childhood photographs that finally brought Ben Chasny and Rick Tomlinson together as collaborators. Both have rich musical backgrounds: Chasny being a member of the psych-rock outfit Comets on Fire but probably best known for his solo project, Six Organs of Admittance, while Tomlinson has released numerous records as Voice of the Seven Woods/Thunders and under his own name. “A mutual acquaintance, Jamie Tugwell, took me to go see Rick play live around 2005,” remembers Chasny. “Jamie kept saying how Rick was sort of an ornery fellow and that I would like him a lot. He was right. I loved his guitar playing right away, which seemed so far from what a lot of players were doing. We had drinks and hit it off. We remained friends over the years.” Chasny became a regular visitor to Tomlinson when on tour in the UK and one particular stay unearthed something serendipitous that would kickstart the making of a joint album. “I was staying at Rick’s house after a show and I looked over and saw a photo of him in a Halloween costume as a box of matches,” Chasny recalls. “It cracked me up because I have a similar photo of me as a robot and I tried to explain to him how it matched his photo.” About 6 months later Chasny found it and sent it to Tomlinson to show him the uncanny likeness of their childhood outfits. “Pretty soon after that we realized we needed to do a duo record and have those photos be on the cover,” says Chasny. “The entire record comes from the photos on the cover.” Tomlinson adds: “It was a pretty odd coincidence. Even down to us both standing on flags with a conifer behind us. We obviously had no option but to use these for the sleeve.” Recorded at Tomlinson’s house in Todmorden over three days one June, initially the pair didn’t quite know where they wanted to go with their musical direction. Tomlinson kept pulling out super rare records from his vast collection for inspiration and they sat and listened to the solo piano recordings of Popol Vuh’s Florian Fricke but they knew they needed to land on something that was intrinsically them. “We knew we wanted to do a record together but we weren’t sure what direction to take,” says Chasny. “When we first sat down to work out some ideas it was pretty much just us getting down to finally having a guitar showdown where each of us tried to outdo each other with flashy moves and ridiculous riffs and playing. After we got that out of our system, we were able to settle down and concentrate on a mood for the record to focus on.” The result is 6 instrumental tracks that capture beautifully fluid and interlocking guitars played with deft grace and skill but also a subtle looseness. On the 9 minute-plus ‘Wait For Low Tide’, the sparse and spacious back and forth playing becomes utterly hypnotic, neatly capturing the kind of natural and intuitive playing that can only come from music made between friends who understand the crucialness of leaving space for one another. While acoustic guitars are the primary means of expression on the record - from the soothing and gentle ‘i’ to the intricate playing of ‘Waking of Insects’ - the pair delve into ambient drone tape loop territory on the humming 16 minute ‘Paths of Ocean Currents and Wind Belts’, which further adds to the deeply textural, spacious and immersive feel of the album. All the tracks were recorded in one take, with the titles all stemming from translations from the Chinese book, The Dream Pool Essays, and then mixed in London at Jimmy Robertson's SNAFU studio, with additional mixing and mastering from Andrew Liles. The laid back, breezy and spontaneous approach to making this record is one that was reflective of the pair’s friendship and camaraderie, with their relationship ultimately driving the tone and feel of the finished album. “We hiked around the countryside, climbed into church bell towers, drank delicious beer in the middle of sunny afternoons, and had fantastic dinners,” says Chasny of the three-day recording period. “I think all of that wound up in the music. I really had the best time in the world.

This is Parand Haghi’s debut project for Specimen, and here we indulge the concept of events based around Area 51. This has always created controversy and conspiracy as a covert space for experimenting on extraterrestrial aliens. We can only imagine the horrors of human endeavour to probe the inner bodies as a means of developing advanced interstellar technology. Albeit, driven by fear and paranoia as a means of conquering outer space the alien species remain a puzzle, but they are here among us have no doubt.

An alien organism reaches planet earth it is sent in the form of a superior female whose dark, passionate embrace allures us to the magical and mystical bewilderment of sonic worlds. Parand is the future of Specimen with PATIENT-X. This is a taste of things to come, after probing into the future with a dark remix of Arsonist Recorder’s "Vaxxer", she is proving to be a formidable force in the realms of electro.


PARAND is Berlin-based producer
At an early age, she developed her passion and taste for music. While her musical roots are grounded in classical piano training, her broad influences and obsession with electronic beats led her to experimenting with DJing and producing what could be considered a unique style of electro with experimental sound shapes, infused with dark bass-lines and beats.

Shortly after Arnic's debut on the imprint, Tresydos is back for its second EP of 2023 with another fresh talent. Signed by Italian artist Deyayu, "A Taste Of Intelligence" showcases Alessandro's colourful, deeply cosmic productions. Seamlessly blending elements reminiscent of house, trance, breaks, garage and dub, Deyayu's 4-tracker gathers a versatile collection of contemporary house music drenched in feeling and groove that sits superbly within the evergrowing catalogue of Tresydos.

While the EP's A-side is drizzled in interstellar melodies, chunky basslines and bleepy warm textures, its B-side ventures into jazzier territory with "film noir" undertones where syncopated and funky drum programming perfectly complement the bouncy bass and tumbling synth leads. The EP includes a dub-infused deep-house groover exclusive to Bandcamp, adding extra depth and

B From E is a Happiness Therapy mainstay. Just last month the Dane remixed Mogan’s Monstera Tears, on the label’s lauded HT17 release. Now he follows this up with his first full Happiness Therapy EP in Just At Night. Featuring a remix by fellow Danish regular Niles Cooper, it marks a highlight occasion for the thriving Copenhagen talent.

Balancing a well-established career in Denmark with an international tour schedule is no mean feat, but in B From E’s case, that’s exactly what the Danish mainstay has been up to over the years. From Traxx Underground to Happiness Therapy, to being head of his own label Buddahood, his productions are downright infectious. Resident Advisor described it best: “Lean and smart, they're the kind of garage-tinged groovers loved by almost every house DJ on the planet,

French producer, musician and DJ, Thomas Arroyo aka Laroye has over the last couple of years been dropping musical releases in all the right places, Atjazz Record Company, Vision Recordings and Freerange Records to name a few, Local Talk are extremely proud to present 'Let It Go' to the world.

From his studio in Brighton where he resides nowadays, Laroye has produced four highly musical compositions that will appeal to a wide audience of house heads as well as the jazz, soul, and funk communities.
The EP offers everything from vocal soul /boogie jams like 'Beauty in motion' and 'Grateful' to the deep vocal house of 'Let it go' and the jazz-funk with a strong rare groove feel on 'People out there'.

Just 100% quality all the way.

Mysticisms continues its global search for amazing music, hitting gold again with an EP of four previously unreleased house meets IDM with a dreamy edges by Romania's HAN aka Dan Handrabur, culled from early studio recordings between 1991-95.

After getting into record store culture he began building a studio and eventually gave up studying in favour of production, relocated to Vancouver, Canada, where his debut release (as X Drone with Adham Shaikh in 1993) began to establish Handrabur's role as an integral part its electronic scene. Appearances with Harthouse, Exist Dance, Eye Q Records and many more followed, plus collaborations with the legendary Phil Western. The four tracks here haven't aged at all, with nimble beats, action-packed arrangements and dreamy atmospheres, 'Give In & Resist' coming on like Rising High-era Mixmaster Morris crossed with the playfulness of Air Liquide, and 'Phantasme' revelling in the same cross-rhythmic fun that informed The Black Dog's classics.

Foghornia is the sequel to Tapani Rinne's previous album Radioton, which was received well by both critics and fans last year. It will be the second album to be released on the Signature Dark label, first digitally and later on vinyl.

The musical basis of the new album remains the same as earlier, consisting mainly of bass clarinet and electronic soundscapes. However, this time Tapani Rinne dives deeper into melancholic waves all the way to the depths of dark ambient.

The current state of the world has influenced the music of Rinne as well, while some of the songs are based merely on personal experiences and memories. The track Kirjurinluoto for example could be heard as the soundtrack of Tapani’s childhood hometown Pori, known both from its industrial nature as well as the home turf of internationally acknowledged Pori Jazz Festival. Tapani says ”The song is dedicated most of all to the festival and its two founders, Tapani Kontula and Jyrki Kangas, who both deceased during the last years. Without their influence i would had never made this particular album neither.” Another track, Confirmation, was originally composed for the confirmation ceremony of Tapani’s nephew. As often within art that makes strong impression, private things mold into public and vice versa. "Music is not a separate island of its own but a part of everyday life", Rinne describes.

Age of Rage aka the studio powerhouse pairing that is Dubbyman and Dan Piu is back on Sole Aspect with a third outing. The title of this one, Credo, is from the Latin word for a "firm set of beliefs and principles." It finds the duo serving up deeply soulful spirits and romantic atmospheres with dusty house beats as the vehicle. 'Open to Close' is balmy and gentle, with the dub even more warm for you to sink into. 'Fake Action' brings shuffling grooves and lush cosmic designs and 'Lover' is a smoochy closer that echoes Sade. Lovely stuff as always from this accomplished partnership.

Gold Vinyl

This medieval summoning, “Sieging Through Fire And Flames” can be interpreted as an ancient and obscure moment in history where merciless wars and conquests are keywords. Battles are launched towards a powerful and impenetrable city, stronghold of prosperity and wealth. Whoever controls it will be glorified, attracting many conflicts, jealousy, and conspiracy. He is its story. About Artist: The Fifth Stigma is a French-American artist based in Paris, France. He has developed a musical approach based on an interpretation and narrration of fictional stories and wonders about a far and forgotten era. Influenced by broad horizons such as power electronics atmospheres, ritual/world, nostalgia, body music infused bass lines, The Fifth Stigma aims to craft a rather slow, heavy, and intimate industrial techno in times where everything seems to go faster, rejecting contemporary codes.

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family. "On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani's most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

'On Giacometti' is presented as a limited edition LP with bespoke packaging featuring Les Naturals - Chocolat (Gmund) sustainable recycled paperboard made from 100 % recovered paper with Foil Artwork by Łukasz Pałczyński. Plus Double sided printed insert and download code inside.

Hania Rani "On Giacometti":
‘When I was asked to compose a soundtrack for a movie about the family of Giacometti I didn't think twice.

Alberto Giacometti, a Swiss artist, who worked mainly as painter and sculptor has been one of my favourite artists for a long time. His individual style, aesthetics and the character of his creative process is still fascinating to me on many levels, so being able to dive even deeper into his universe, getting to know not only him but also his family was an opportunity that I couldn't miss. Little did I know how far this "yes" will take me - not only mentally and on a creative level but also physically. Thanks to the director of the documentary - Susanna Fanzun and by a stroke of luck and a couple of extra questions I decided to move for a couple of months to the Swiss mountains, not far away from the place where Giacometti was born and where the place he called home was, although he didn't live there. Susanna showed me a place close to her hometown where I could rent a studio and work on the soundtrack but also for my other projects. It was the middle of a winter, the area was full of ice and snow, just like only it can happen still in the mountains. The residency house was located in a valley surrounded by high mountains and the sun in the winter season was not coming up for too long during the day. I remember she told me about it and added "that not everyone is feeling well there, but I hope you will". I did.

Being almost separated from reality, the city and its entertainments, people rushing and everything that usually takes my attention I could fully concentrate on the music and soundtrack, spending most of the day with my own thoughts and having enough space to experiment and be free in a creative process. This soundtrack would probably be a very different thing if composed in a place that I am usually living in. I took this a chance to explore something new about myself as a composer and human being, taking the opposite direction that I would usually choose for myself.

The album "On Giacometti" includes the excerpts from the soundtrack, the most representative tracks and those which became a strong voice itself. Based a lot on improvised melodies, simple harmonies, structures and silence it reminds me of my debut album "Esja" which was partly composed and recorded in another chilly place - Iceland. All these components, both mental and physical, guided me back to my main instrument - piano, which I tried to redefine again with a language of the space that I was working in. The space is usually the key element that gives me the answer about the arrangement or character of the project. Space seems to be the first to appear and music is the invisible power which is changing its angels.’ Living surrounded by mountains makes you change the perspective and understanding of scale as Alberto Giacometti once famously wrote in a letter: It gives an impression that things that are actually far away, like mountains, are close and the other ones that are not so far away, like people, seem small, watched from a distance. You feel like touching the mountain top with your finger could be as easy as touching the tip of your nose. The snow additionally protects the whole area from the noise, each sound lands softly on the ground accompanied by echoes of immeasurable space. Each scratch or whisper is becoming an autonomic entity, opening the gate to the world of ghosts and lost spirits. It's easy to think that time stands still there, while nothing is moving and changing at the first sight. But the ubiquitous ice and snow reveal the passage of time, transforming frozen paysage into the wild stream of water - each day, hour and second. Melting and vanishing, clearing the space from white powder and noise consuming surface. Invisible process for a one night traveller, becomes painfully real for longer time settlers. Time flows with each new wave of sound coming through the river, reminding us that we are part of the cycle, which endlessly repeats itself.

Smith was involved in the music business from an early age; at the age of 8, he was a deejay for the local sound Observer. Like many other great reggae musicians, Smith learned his musical skills from a combination of sound system culture and schoolwork. At age 15 he sang in school with Nadine Sutherland, who urged him to move to Kingston to pursue a singing career. It took five years for Smith to follow this advice as he had difficulty leaving his mother, with whom he had a very close and loving relationship.
Arriving in Kingston at the age of 20, Smith was thrown into the digital revolution of reggae music. His first track, "Indian Lady," was released on George Phang's Powerhouse label, Final Mission LP on the extremely popular version the old Heavenless riddim recorded by Sly & Robbie (the riddim from Half Pint's Greetings). Though it didn't become a major hit, producers discovered Smith's unique and convincing singjay talent. During the next five years (from 1985-1990) Smith put out a long line of tunes. His biggest hit was the 1988 tune "Dangerous," released on the progressive Redman label. A cheering audience watched him perform the song live at Sting '88. This song was even adopted by a British boxer called Nigel 'The Dark Destroyer' Benn and used as his entrance music, a tune that sounded out his intentions in any forthcoming fight.

The double vinyl containing the OST of music inspired by the docu-film "I RAGAZZI DEL COLUMBUS", these tracks just want to
tell the true story of an unrepeatable Era, of clubs, DJs and the generation that gave birth to the socio-cultural revolution which, starting in Italy between 1974 and 1985, it then spread throughout Europe, all with a passion for afro / disco /
funky music, which from the "Columbus" square in Riccione then spread everywhere. Thanks to djs and clubs

First Reissue for this almost impossible to find record, this beautiful soul blending disco was recorded in one shot by Keith Paul in 1977. Fully remastered, it gives justice to one of the most hidden treasure of Guyana's music. Keith Paul recorded every instrument on this record. The liner notes interview by Saultone founder will give you the whole story and get deep in the secret of this incredible voice and talent.

Aptly titled, ‘Welcome’ is the debut album from Don Glori. A kaleidoscopic free dive into his world, featuring 8 recordings of revolving jazz, Brazilian, soul and funk inspired compositions spinning together and blurring into a genre bending slew of new music.

There is an intangible element of joy and connection sitting just outside the grasp of description or definition that can be felt throughout this album. Each song on this album captures the spirit and irrepressible energy that underpins the core of the Don Glori project.

Imperfections are captured along with the moments of transcendence. Layers of vocal harmonies oscillate next to pulsating samba rhythms while spiritual overtones permeate throughout. Congas and percussion form a holy union with the drum kit, co-piloted by Don Glori’s own bass lines.

Saxophones, horns and flutes flutter in between the musical canyons carved out by the piano and vibraphone. When you press all of these forces together you can start to feel the intangible; the intrinsic human elements existing in the creases. The sweat, excitement and willingness of each musician to dedicate their spirit and take risks on every track of this album.

It’s clear from the outset that this is an expansive body of work, from the spiritual jazz opener ‘Maiden Waters’ to the bubbling street party that is ‘Dlareme’, and ending on the unashamedly seductive ‘Commodore’. This is the kind of record that will translate equally well to both the dance floor and the lounge room rug.

Four Flies' new imprint Edizioni della Notte is back with a 12-inch maxi single of infectious remixes of Francesco Fisotti's boogie funk track "La Tartana" by eclectic Neapolitan DJ/producer Whodamanny.

The original track, which comes from the 2021 album Lido Sirena (named after a beach resort in the Salento area of Apulia, where Fisotti used to spend his summers as a child), blends funky disco, synths, drum-machine beats and improvisation into an exciting new sound that Fisotti calls "Adriatic funk".

Inspired by slow-tempo but irresistible Italo and cosmic disco tunes, in particular Tonino Balsamo's 1983 "Sta Guagliona Mo Ddà" (one of the rarest Neapolitan grooves ever, recently reissued by Periodica Records), Whodamanny's two remixes amplify the original's dancefloor potential by adding a nocturnal vibe and elements such as synths and electronic drums, as well as a short vocal line ("Don't stop till the music stops") to create a catchy call-and-response effect.

Whodamanny himself explains that he produced not one, but two remixes due to his love of extended dub versions. "It's sort of a professional quirk," - he says - "but you know, it's inevitable. You're sitting at the mixer, listening over and over to a track… Of course you'll find bits you can stretch out to create a fantastic flow! And my approach is always the approach of a DJ. I want whatever I produce to work well in my DJ sets, so these remixes too were bound to be club-oriented."

Bedouin aka Tamer Malki and Rami Abousabe are to release their long awaited and adventurous debut album Temple of Dreams on their own label Human By Default this Spring.

Over the course of the pandemic, Malki and Abousabe spent a great amount of time finalizing songs created in the past 7 years, composing, song writing, singing, and working on numerous projects including collaborations and new originals. Temple of Dreams was shaped from these sessions and captures the enigmatic sound of the versatile, forward-thinking group.

Malki explains that the album looks to “experiment and push the boundaries.” It differs from their previous work, as the album is intended to be a deep listening experience for the fans, rather than a slew of club cuts. The multi-talented artists sought to create a timeless sound in Temple of Dreams. Malki outlines that the album lies between “what we play on stages around the world and what we’re capable of writing and producing as musicians and producers. We wanted to exceed expectations and present something that you might think or feel you’ve heard before, yet it's something completely new and not what might be expected from us.”

It starts with the enchanting sounds and candle lit grooves of Rise And Fall then journeys far and wide through the Eastern string sounds of Coldman featuring Nathan Daisy, darkly alluring vocals and mystic rhythms of Voices In My Head and the hypnotic melodic leads of Crazy feat. Iveta Mukuchyan. Elsewhere the richness of Bedouin's sound makes for spellbinding listening on tracks like Hokema Feat. Delaram and Flore Chico feat. Chico Castillo with its alluring Spanish vocals. Love And Hate is a more dynamic and punchier house cut while Fill The Space is an intriguing mix of melodic magic, authentic instrumentation and smooth rolling grooves.

The musicians, singer-songwriters, and producers in Bedouin have spent the better part of a decade fine-tuning their sound, which draws as much from their Middle Eastern heritage as it does their world travels as DJs playing iconic venues across the globe. They have pioneered a distinctive and timeless sound on some of the world’s most notable labels such as Crosstown Rebels, Get Physical, All Day I Dream, and recently their own imprint—Human By Default.

Select major label releases include remixes for Black Coffee and Virgil Abloh on Ultra and Sony/Universal and as well as calling Burning Man home they have their own iconic Ibiza party, Saga, at Pacha each week of summer, and play major events such as Coachella, Tomorrowland, and Art Basel and venues like Ushuaïa, Wynn Las Vegas as well as a ground-breaking Cercle set filmed in Petra, Jordan.

This much anticipated debut album shows yet another side and the artistic development for this influential pair.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.