Cerca:every

Following a run of successful digital releases, eloelo records presents its debut vinyl release, a multifaceted 4-track EP, featuring three original tracks by label head ELODIE and a remix from coveted producer Michael James.

The A side is headed by the title track, ‘Bohemian’. Consistently well-received, especially by those lucky enough to have heard it on a heavy-duty sound system, the track creates an immersive, euphoric atmosphere that oozes warmth and vibrant energy. Coupled with one-off hits and delightful ear candy meticulously sprinkled throughout, ‘Bohemian’ offers a feast for the senses making it impossible not to move to. Your ears and your feet won’t be able to get enough. Michael James' remix of ‘Bohemian’ transforms it into a peak-time anthem that ignites the dancefloor. His rendition adds a layer of intensity and excitement, characterised by his trademark percs and a thrilling breakdown that leads to an explosive drop, leaving revelers ecstatic every time it is unleashed. A proper ‘bomb’.

The B side takes a more emotive turn with two more original tracks from ELODIE. ‘Like To Dream’, envelops listeners in a dreamy, sense of deep introspection via complex soundscapes which have been expertly woven to create a mesmerising depth of sound. Its seamless blend of pads and synths create a profound journey, inviting listeners to lose themselves in this moving, mature track inspired by the Rominimal sound.

‘Pineapple Ice’ rounds off the EP with a mood that is both tranquil and experimental. The track’s minimalistic yet intricate composition offers a soothing yet intriguing auditory experience, balancing calmness with a touch of playful unpredictability. A dubby techno number which perfectly balances out the EP. ELODIE has stayed true to the production style that she is carving out for herself with an EP that stands to advance the label’s dedication to delivering unconventional releases that cultivate a distinctive and timeless minimal sound.

The journey continues. Now, the second Want Some Record release will be the first album of The Mighty Cavaliers from Kenya. It's a bit unusual that it is not coming in the original order of release, but that's how I got my hands on both records.
Anyway, this record is another masterpiece of Kenyan funk-influenced music at its best. The songwriting is not from just one musician; every musician contributed songs and music, which makes it very special. You can hear the different musical influences, and every track has its own personality.
'Fisherman' was released twice before, in 1976 and 1978. Now, it's time to spread this wonderful music to the world again in a very limited edition of only 500 pieces, with a brand new cover design.

Raining Heart is a studio project originally created by the German musicians Peter Heckmann and Tobias Freund in 1986 in Frankfurt. Very much in the same vein as Art of Noise with its studio sound experimentalism, but with a Kraut edge to it. If there was one track that could be played for everyone at the G20 Summit whilst on LSD in hopes of achieving world peace, it might be “Raining Heart”, the first track on this EP, it’s just one of those tracks that makes you wonder what these people were eating for breakfast at the time. Nothing technically mind blowing, just crafted to perfection in terms of all the elements coming together in therapeutic beauty, (also clearly exposing Peter’s relationship with theatrical production). A downtempo chugger with the dreamiest of sounds, effortlessly transporting the listener to another dimension, the vocals are unthinkable, by Yucca Rose, an East Javanese Jazz singer, almost as if she was broadcasting from a radio station in a parallel universe. “Alien Beat” takes a more aggressive turn into some kind of neo rock direction generously decorated with a wide range of studio tricks that might have been ground breaking at the time. B-side offers two new remixes by Castro, a “K-hole Collage” version of “Raining Heart” taking the original theme to another dubbed out realm, and a “Bonus Beat” extension of “Alien Beat” that dissects the key elements of the original track in efforts to develop a more dancefloor oriented DJ tool. Remastered with original artwork.

Lake People is finally back with a mini-LP consisting of seven pieces.
Although every track stands for itself and has a rather distinct signature, in their compiled form, they are still able to tell a harmonious story from start to finish — maybe somewhat "Foreverer" which is the title of the release.

Adam Beyer and Green Velvet’s behemoth co-production ’Simulator’ gets a trio of fresh remixes.

Something special happens with Beyer collaborates with Curtis Jones aka Green Velvet, with last year’s ‘Simulator’ a timely reminder of their musical synergy, following the 2019 classic ‘Space Date’ with Layton Giordani.
A year on from its release, Drumcode treats us to three contrasting interpretations that epitomise the sonic breadth of the label in 2024.

Mha Iri is first up having established herself as one of Drumcode’s most vital go-to producers in recent times. The Scottish artist turns in a blazing masterclass, taking the nasty bass stabs of the original and utilising them as thunderous motifs throughout her remix, as she brings intensity in spades with plenty of thrilling builds and drops along the way.

Emerging Australian artist Odd Mobb is next, whose music has been championed by the likes of Fred Everything and Skrillex. He brings the energy throughout the four-minute rework, amplifying all the low-end elements, while adding fresh bursts of colour. It’s a dynamic reinterpretation that will keep listeners on their feet.

Chris Avantgarde, whose contributions to Drumcode have so far comprised an outstanding collab with Kevin de Vries ‘Mind Control’ and an A-Sides contribution ‘The Last Time’, returns with the goods and lives up to his boundary-pushing pseudonym. This has more sides than a rubix cube and shows the German’s sound design class, encompassing elements of breaks, bass, electronica and techno, yet still manages not to sound like anything else out there.

Pressed on Limited Edition Neon Green Ripple Effect vinyl in the DC House bag.

Tysher returns with another melodic super smasher EP on his own imprint. His affection for emotional and mysterious tracks became well known in the scene. He continues improving his signature sound with every further release he is reaching out. This EP is full of haunting melodies, driving beats, and ethereal atmospheres. Immerse yourself in a journey of sound & emotion with release no.4 from Tysher Records.

Comes as super limited grey, red & black splattered Collector Edition.

After the success of the New Frames debut EP on Green Fetish, 'Fatal Strategies'.
We had to circle back and have a remix EP carried out.

After getting some of our favorite and uncompromising producers on board. We are proud to present a spectrum of techno variety for you.
Opening up the A Side is a Hard hitting re-interpretation from Valerie Ace. Which then leads into a heavy driving remix from our boy EAS.

The B Side continues with contrast with a glitchy, driving Mickey Nox Remix and then closing out with a groove chapter from none other than VILLA.

This remix EP was able to be such a banging release thanks to the original detail and crafty sound design from the Heavy Hitters 'New Frames'.

Out now everywhere and on Marble Green Wax.

Acclaimed Canadian electronic producer Francis Latreille, known as Priori, unveils his new singles "Learn To Fly" and “Segue” today, marking the first releases from his upcoming third album, This But More. "Learn To Fly" offers a taste of the album's lush, dubby techno soundscapes, while "Segue" showcases the album's ambient side. Arriving May 24th via NAFF, This But More marks a sonic departure for the artist, exploring a richly textured landscape of electroacoustic compositions inspired by literature, cinema, and the transformative power of nature.

Priori delved into This But More from September 2023 to March 2024, drawing upon archival recordings and fresh ideas. "This album is about healing," Priori explains. "Not necessarily 'music that heals', but about the process in its ups and downs, its beauty and uncertainty." Themes of protection, healing, sleep, and decay naturally emerged during the creative journey.

To craft this immersive world, Priori collaborated extensively. Writer and musician Devon Hansen penned a series of "Suggested Stories" to accompany the album, adding depth to its lore. Musically, Priori teamed up with James K, Ben Bondy, Sabola, Adam Feingold, and Jesse Osborne-Lanthier, infusing the album with diverse instrumentation, including violin, guitar, software instruments, and field recordings.

This collaborative spirit extends to the album's striking visuals. Jesse Orsborne Lanthier designed the main and single artworks, while Ulysse De Lezenne crafted a unique jewel, both pieces seamlessly connected to the album's narrative.

The intricate world-building sets This But More apart. "It's the biggest collaborative project I have tackled so far," Priori notes. This spirit of exploration extends to the second single, “Wake”, featuring Priori's first vocal collaboration with close friend Jamie Krasner (James K).

Priori's artistic process is grounded in self-awareness and intuition, asking vital questions about how each element serves the greater purpose of the music. Swimming sessions between studio work provided clarity and focus throughout the album's creation. These meditative moments reflect in the music, inviting listeners into a contemplative, dreamlike state.

Beyond music, Priori draws inspiration from the literary worlds of Gene Wolfe, Ursula K LeGuin, China Mieville, Brian Caitlin, the evocative games of Hidetaka Miyazaki and Yoko Taro, as well as the ever-evolving beauty of myths and nature.

"This is a live album that was taken from the tour for YTILAER. Songs tend to mutate after they"ve been recorded. These songs were mutating faster than usual. Like whatever happened to Bruce Banner in the lab - I knew these songs were about to get superpowers. As far as I was concerned, this change needed to be documented. The best thing about documenting something is that it gives the creator permission to move on should they wish to move on. I usually prefer to move on. These songs were recorded in Chicago, America"s heart. And at one of the best clubs in the country - I try to only work with venues that are not entangled with LiveNation/Ticketmaster. Thalia Hall, baby. Stay free. The date was mid-point in the tour, so I knew we"d be as hot as we were going to get. Not too green, not too brown. There was the thought, "let"s take this op to make it something special." So we took advantage of Chicago"s easily accessible players - we got Nick Mazzarella to add alto sax to one song, and from the opening band, Pascal Kerong"A to sing on a song, and Nathaniel Ballinger on piano on one song - and I couldn"t pass up the opportunity to invite Joshua Abrams and Lisa Alvarado to play on "Natural Information." The hardest part of making the record was cutting songs out - it could have been a triple album. But I don"t know, maybe the show should have been this short?" - Bill Callahan

CMDRPX and RPX16035 present the first various artists in collaboration and unite the two souls that were already traveling on the same vibrations, opening the v.a is an iconic figure from the underground world, @francescofarfaofficial who with his "Soul Engineering" drags you into his world hypnotic, a fusion track that combines his unique style that looks to the future with bleep and acid sounds with a non-invasive groove that encompasses everything and makes the track one of a kind.

Also on side A we find @niki_ilb with his "Acid lover" track which focuses on an IDM sound and which opens the doors to a conceptual acid and Deep style.

@gianluca.pellerano opens the B side with "Stanza di musica", a record projected onto the dancefloor with hypnotic voices, sounds and textures that will drag you towards new musical horizons.
The B2 side was entrusted to @giuseppe__angeloro with his track "Mentalism dance" with a raw sound reminiscent of the 90s, an acid texture and present percussions that make the track evolve in a more introspective direction.

Lastly we find the duo @gianluca.pellerano & @caciotechnology with their "Mango bet" the two combine their styles perfectly the track has an Electro base with a texture projected into the future experimentation in this track is the key word.

Happy listening everyone.

2024 Repress

Deep Sleep Robot returns with another throwback excavating some of the rare finds. The second chapter of the series, a Various Artist four-track EP, timeless cuts from the archives.

The A-side, Ronin (aka. J. Axel) the man behind several albums on PlackTown Sounds, Plastic City and Driftwood brings us "Mysterious City", classic Ronin sound here folks this being one of the first releases by the artist back in 1998. Followed by Swedish producer Johan Bacto (aka. Johan Svensson) responsible for labels such as PlackTown Sounds, Everyday, Mankind, Zync, Countdown 2000, with his "Takemountain" the combination of these creates the reunion of the tracks previously released 24 years ago, sounds just as fresh now as it did back then.

The B-side Van Delta (Christopher Bleckmann & Hannes Wenner) a German duo in charge of EP's on Groove Attack Productions, M_Nus, Archipel, and Krush Grooves, gives us a nostalgic trip from 1999. "Adjust", with hypnotic keys and solid bass line building up the tension slowly but steadily creating the groove. The final track by Dav (aka. Davor Stosic) a Croatian artist B+Positive, Cove Recordings, and Sensei labels that regularly has been on Swag Records store shelves. "Flight", a fantastic example of late 90's tech-house. Hypnotic soundscape, variety of layers and a slow build up, giving the track an otherworldly feeling.

All tracks were produced between the years of 1998 - 2003, timeless and rarer then rare.
Order DSR002 now
unsubscribe from this list update subscription preferences distribution.triplevision.nl
Triple Vision Record Distribution BV · Achterhaven 160 · Rotterdam, Zuid-Holland 3024 RC · Netherlands

The widely beloved Romanian producer and DJ Barac delivers his new EP ‘Hypnotic Grayscale’ via Yecad this May, comprising three original compositions across the vinyl only release.

Since his debut release over a decade ago, Bucharest, Romania’s Barac has grown to become one of the most prized producers and DJ’s in the microhouse movement coming out of his home turf. A name synonymous with high quality, subtly nuanced and hypnotic grooves tightly woven together to create a sound that’s distinctly his and has found a home on many reputed labels such as Meander, Pressure Traxx, Adam’s Bite and of course his own Shamandrum. Here though, we see Barac joining the roster of Yecad, a fledgling London based imprint that has played host to music from Sepp, Vlad Arapusu, Mihai Pol, Dragutesku and Constratti since its inception in 2023.

The title-track ‘Hypnotic Grayscale’ opens the EP and encapsulates all that is loved about Barac’s productions, delicately unfurling atmospherics, haunting voices and softly reverberated chimes intertwined with airy dub chords and stripped back drums.
Following to open the B-Side is ‘Everything that is seen comes from the unseen’, stripping things back to a rawer, percussive driven state with crisp drums and a bubbling acid- tinged bass line carry the groove while sporadic resonant flutters and vocal murmurs ebb and flow within. ‘He restores my soul’ then rounds out the EP and sees Barac explore his more experimental side, fusing together ghostly synth melodies, echoing chords, spiraling resonant swells and a hypnotic Romanian spoken word vocal.

Italian producer Gemil returns with Planet X on Deep Down Space Records, marking the label's second release. 'Dance Phobia' immediately grabs your attention with its serious bass groove while the energy builds. A mid-tempo minimalistic house track enriched with vocal samples that add a house appeal, while the track’s tension mounts through the break before cruising smoothly to its end. "Reaction" dives even deeper, presenting a creative, addictive rhythm track with a tech appeal. Swirling chords and airy, euphoric elements blend seamlessly over a classy 90s house feel, leading into a moody alien melody in the second half—perfect for late-night dancefloors and growing more impressive with every listen.

On Side-2, the title track 'Planet X' is an exciting and creative blend of sounds, even earning an approval nod from HAL 9000 in the mix. Italy is known for their wonderful history of ambient house. This piece has that legendary sound and appeal to be a classic while providing many smiles on the dancefloor. Lastly, 'Soul Killers' delivers an addictive house mantra that everyone can get behind. It's perhaps the most underrated track on the EP but is sure to find its way into the sets of classy house music DJs. Don't be a Soul Killer!

Planet X by Gemil is a splendid EP, capturing the essence of house music with a touch of techno sophistication, ideal for both connoisseurs and late-night revelers alike. Welcome to Planet X!

Make The Ting is a project born out of my writing on creativity that lives online as post it style notes known as the ‘Yellow Squares’ found across Instagram and Twitter. The first square was posted on July 31st 2021, as covid-19 restrictions were lifting in the UK and I was thinking about what the music scenes and wider creative communities are after 18 months of lockdown. The idea’s developed into lectures presenting them in real life, but the platform felt right to explore my own creativity more broadly to challenge my own ideas in real time. My history as a DJ, Label Owner and Promoter in the Grime scene wasn’t at the forefront of these ideas, but I wanted to reconnect back to the ecosystem that inspired and gave me a creative career in the first place. Blay Vision’s ‘Cammy Riddim’ in the summer of 2022 inspired an idea to translate the ideas in the squares into song form. I approached Grime MC Jammz about the idea, and the first song ‘Yellow Square’ was done with the core principles that I had written about so far. 6 months passed, and while on a Muay Thai retreat in Thailand in February 2023 I thought about expanding the musical side of the Yellow Squares further. I text Jammz about turning this idea into an album, that we make as quickly as possible using my writing as a guide, and his voice and creativity to turn them into songs. We gave ourselves two weeks, set up a shared notes in iPhone did two zoom meetings, one phone call, exchanged messages on iMessage and he wrote 7 songs in a week, then recorded them all in one day at Ten 87 Studios in Tottenham, London. Jammz wrote all of the songs to one of his own beats, then we selected the final instrumentals we liked that we thought fit the ideas from both our camps the day before recording. The speed forced our hands creatively and it would have been a completely different project if we worked on it for months. Time is the creative director. Albums don’t have to be blockbuster projects with big budgets and huge campaigns behind them. Albums are just collections of ideas. Removing the pressure of trying to make a perfect one meant it got done and released with the least stress possible. Even the business of the album took 5 mins to handle. An equal revenue split on each song between me, Jammz, and the producer. Everyone gets paid quarterly into their own account automatically by our distributor. On announcement of the album in March 2023, we released the acapellas, for people to do their own versions, before most of the original songs had been heard by anyone. We encouraged people to Remix The Ting, and I did custom artwork for everyone that sent me a complete remix before the album came out on the 30th June 2023. The front covers are drawn individually by me. I wanted to make the record an extension of what I do with the yellow squares themselves and capture the energy of where my head is at in 2023. If it’s blank, it’s space for you to draw your own yellow square. Maybe what you think about the album, what it’s inspired for you, or just a snapshot of where your creative brain is at on the day you are picking up this record. This could be the first of many albums, this could be a one off. Nobody knows what is going to happen next. It all may make sense in the end – Elijah

There is propably no single event that has as potent of an
effect on the german Techno- scene as the fall of the Berlin
Wall. A city divided suddenly, in one single night, became
uni¦ed, opening up both sides for the new experiences and
ways to view life the other might have. Berlin’s eastside with
it’s empty, unused warehouses proved to be a fertile breeding
ground for free spirits and those carrying a newfound ¦re in
their eyes. This was the zero hour. The Consolidation. And it
is this mindset, spirit and ¦re of Consolidation that Shaleen
conjures on her debut EP of the same name. The title track
opens up by sampling John F. Kennedy’s legendary “Berlin”
speech from 1964, before absolutely caving in the concrete
with a beyond-heavy kickdrum and a very stripped down but
effective 909-percussion section. Spursed in along the track’s
runtime are droning sirens and JFK continuing to beckon you
to lose yourself in the metropolitan bowels. This is the
anthem of a past revolution. On Deconstruction, Shaleen
goes down a slightly more basement oriented route. The
Percussion shares the title track’s stripped down
effectiveness, but the Groove is more rolling, the Vocal
samples are more distorted and there are sharp synths
cutting through the beats like shards of broken glass. Of
course, a revolution wouldn’t be complete without a mob so
both Cadency aka Hector Oaks and New Frames have put
their spin on the EP’s title track. Mr. Cadeny is up ¦rst and,
being no stranger to revolutionary anthems, has given
Consolidation an almost contemplative mood in his Remix,by adding a very subtle melody. This doesn’t mean it hits any
less hard, mind you, there is an incredibly strong drive to the
track, paired with an almost constantly looping vocal and the
sirens going into overdrive, this would be the track to drive
crowds into a frenzy. Meanwhile New Frames’ track is the
kind of thing you wouldn’t want to encounter alone in a dark
alleyway. The sub-basses are heavy enough to terraform
Mars, the Jungle-esque Synthlines roar and snarl at the
listener and every drop feels like a right hook to the chin. The
original’s vocal is cut in a way that it only adds to the
stomping rhythm, putting you in a mood to throw bricks. So
while this record showcases an aggressive sound and a
mood for revolution, it is important to remember it’s title.
Consolidation. It echoes a message of uni¦cation. Of
standing together. Because together we are, have been and
will always be stronger than by ourselves.

2024 Repress

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

ETC Records proudly presents the official follow-up to RADIUS’ highly acclaimed limited 7”, Infinite Roots Vol.1. Chicago-born worldwide documentarian & respected producer/performer, RADIUS unveils Infinite Roots Vol.2, produced and recorded from 2015 to 2023. This volume showcases his diverse range of styles: Chicago Jazz roots, bboy/hip hop & house music lineage, Detroit techno connections, dub/Rastafari dissporic expansions, and cinematic soundscapes.

Infinite Roots Vol.2 features heavy hitters from RADIUS’ previous digital only releases, live performances, dance competitions, and unreleased gems. Created within Brooklyn where he was based early pandemic time, as well as throughout Mexico, Detroit, Barcelona, Berlin, Rotterdam, and of course Chicago. These diasporic roots run deep and are a reflection of everything: as above so below, as within so without, infinite. The sounds are meant to be Banged loud and proud!

Repress!

Musician, composer, bandleader and musical rubik’s cube, Laurent Bardainne is a saxophonist who trained at The Paris Conservatory.
He’s collaborated with Pharrell Williams, Cassius and Philippe Katerine to name just a few and presents here his latest project, ‘Tigre d’eau Douce’ Also co-founder of electro rock band Poni Hoax (Tigersushi Records), Limousine, a duet with Camelia Jordana and more recently Sabrina & Samantha for Ed Banger. This album, sees a return to his first love of jazz, The Tigre d’eau Douce, represents a species doomed to disappear. So using melodies, chants and solos as an escape guide, his tenor saxophone takes us to a higher place,
one where John Coltrane and the great figures of jazz reside. These LP tracks bounce between the grooves and soul of the 1970’s, where
percussion and saxophone pave the way. ‘Marvin’ allows the fluffy keys of the Hammond organ to open out into a pensive melody that feels familiar. Carrying on the journey, the tough asphalt of hip hop is visited on tracks like ‘Bachibouzouk’ and ‘Felin M chant’, whereas more tropical themes are explored on tracks like ‘Kinshasa’.

Repress !

Heavy House Society starts 2022 with a high quality EP from Cologne based German artist DJOKO, and this also comes with a remix from the head honcho himself Sidney Charles.

DJOKO’s sound takes influences from funk & soul, garage, deep house and everything else in between that is both underground and raw. He’s released on an impressive selection of underground labels like PIV, Berg Audio, Talman and Rutilence, garnering numerous genre number 1’s on the download stores whilst also accruing over 11 million streams on Spotify alone.

For his debut release on Heavy House Society, we bring you his Rapture EP. The title track to the EP, Rapture is a classy deep and minimal house affair, with his house beats combining with a driving bassline, the cleverly constructed filters organs and pads giving this a sublime journey feel.

The second track is Inside of Me, which has more a skip to the beats, weighty bassline, and well worked samples. Add the lead melody line and this is a great track to get people moving.

The third track is My Crib, a bassline led track with an old school flavour to it which combines atmospheric pads which provide depth, delicate and intricate melodies and leads.

The last track is the Sidney Charles remix of My Crib, for his remix he takes this a little deeper which offers a great alternative to the excellent original mix. A more sub bass groove free’s up frequencies in the mix giving more space for the melodies to breathe in the track and take this on a stunning floating groove.

This is a superb release featuring 2 amazing artists, and for sure this with deliver the goods for Heavy House Society yet again

Damian Lazarus invites Kristin Velvet to Crosstown Rebels for ‘Wasp Nest/Get Down’, featuring and remixed by house icon Fred P. Delivering her first material on the iconic label, the Arms & Legs boss serves up two diverse productions, including a collaboration with Fred P, with the New York favourite also providing two slick interpretations of his own.

Rising to prominence over the past decade as an artist backed by a wealth of support from BBC Radio 1, Australian-born DJ/producer and label boss Kristin Velvet has garnered consistent support from The Blessed Madonna to Fat Boy Slim and Carl Cox, seamlessly blending her roots with influences from her adopted homes across the globe, including London, Tokyo and most
recently, Berlin and Ibiza. Collaborating with Felix Da Housecat while releasing material via Josh Wink’s Ovum Recordings, Cassy’s Kwench and Hot Since 82’s Knee Deep In Sound, plus her own Arms & Legs which she co-manages with Daniel Steinberg, she continues a busy 2024 with a visit to Damian Lazarus’ Crosstown Rebels for the very first time with her two-track EP ‘Wasp Nest / Get Down’ - featuring a collaboration with house pioneer Fred P who also serves up two trademark, deep dives.

Warping and twisting, armed with robust drums and ever-evolving synths, ‘Wasp Nest’ is a trippy excursion through an amalgamation of textures, delivering a driving production with twists and turns at every moment, while the slick ‘Get Down pairs crisp percussion and smooth grooves with Fred P’s iconic vocal for a classy house outing. Delivering his own takes on the production, Fred P’s first reshape is a delightful dive through dubby pads and hazy chords before serving up a cosmic excursion across his ‘Deepness’ reshape to close things in style.

Having spent the last decade evolving into one of dance music’s most sublimely effective producers, CWPT is delighted to welcome Theo Kottis at the peak of his powers, delivering a further four tracks that demonstrate a playful mastery of widescreen sounds for wide-eyed dancefloors.

Capturing the light still shining from his beloved ‘Lighthouse’, finally released earlier in 2024 via Dekmantel and escalated into notoriety thanks to support from trusted selectors such as Ben UFO, Francesco Del Garda and our own Palms Trax, title track ‘Rain’ retains a similar, blindingly authentic nineties reverence, finding ecstasy in a wash of cascading synths, powerful plunges of sub-bass and layer upon layer of elasticated everything.

The Scottish producer’s positive education in the foundations of club music with real personality makes itself known without indulgence; a belief in the subtle tweaks and imagination of classic tech-house, alongside a welcome flirtation with the over-the-top elements that create something potentially anthemic. In this regard, ‘Benirras’ proves to be pure pleasure for dancers who love to be toyed with, its stripped back opening giving way to slowly-escalating, wobbly-jawed hysteria.

On the flip, ‘Grazie’ proves as cordial as its title, a warm and refined slice of sleek house minimalism, a roller with Alfa Romeo sensibilities. Things take a more aquatic turn on ‘Lowkey’, a logically headsy conclusion that sees Kottis sensually bounce the word ‘electro’ around in that very style, its slower tempo and wider space allowing the impressive intricacies of his productions to float up for fresh air.

From Pasha With Love (love in times of war)

Pasha is a soldier on the front line, fighting those who till the day before were friends from the town next door, probably fighting his
own brothers-in-law, Natasha’s brothers, his great love, mother of his children in a senseless war if only wars had a meaning …

In the evening when the madness slows down.. Pasha takes his cell phone and talks about the horrors and the desperation but also the
infinite gratitude he feels for having had her as a gift in his life. His texts always end with "From Pasha with Love"

The atrocities, pain and the inhumanity he experiences every day, every hour, are alleviated in the pauses between one explosion and
another by his most intimate memories... Natasha's laughter as they chased each other in the sunflower fields in their first summer
together, his Yes! to her at the altar, her kisses first thing every morning.

While he runs surrounded by the screaming of the wounded and the whistling of bullets in the woods, in every moment that could be
the last, he searches for that tree where at their first date they carved that little heart with the words ..
Pasha & Nasha-Timele.

"I am in shock of what you are saying and don’t you go anywhere else and spread such false information”

Inspired by the underground night life in Iran, where Salar Ansari’s journey as a selector started in the mid-2000s, each cut on 'Chi Gofti? Nagi Jayi!" touches on a specific mood & scenario.
"Dorehami Melo دورهمی ملو", referring to a mellow get together after the last rave being raided;

"Tu Jaddeh Savaarkaar تو جاده (سوارکار)" is the rush of driving through the mountains listening to driving beats, heading to a party on the outskirts of Tehran through mountains

"Raghs e Ghalamou رقص قلمو" touches on the artist's commitment to painting sonically to unify with his people through creativity and resonance

"Long before discovering house music as a teenager I was bred as a dancer, a slave to the rhythm, in my parents vibrant house parties of dancing the night away till you drop. This is my culture, to surrender, to give in, to react to the rhythm, every corner of it. PGS is family to me and I am so happy to have this music that is very dear to me, come out through this imprint. PGS is about community, Hamtramck is about community, Detroit is about community, Iran is about community, this music is about community." - Salar

Written, produced, recorded by Salar Ansari
Design by Salar Ansari & Ben Saginaw
Thanks for: Ahang Ahmadi, Sina Matinsefat

"Tu Jaddeh Savaarkaar تو جاده (سوارکار)" music video by Vinnie Massimino, shot by friends in Iran

[a] A1. Dorehami Melo [دورهمی ملو]
[b] B1. Tu Jaddeh (Savaarkaar) [تو جاده (سوارکار)]
[رقص قلمو]

AGT Records is onto release 007 and it’s a certified killer.

In the early 2000’s KAELO and DJ Jet AKA Kaelo Gallagher and Jesse Goldfarb combined to create JK47. They produced and pressed their records out of their own pocket with no distribution, handing them to local record shops in and around Toronto. When the shops eventually closed the records found their way out into the world, leading us to today.

The Plastic Aviator EP was a passion project of the duo in 2005. Its influences stretch beyond any one era or genre and you really do get a taste of everything here. The balearic feel of the original mix (shoutout to Queen of the Worms on the guitar) is nicely balanced with the dub inflected UKG attitudes of the Scene Heads and Loopity Goofs Mix, while the previously unreleased Hernan Gutmer mix brings the EP to a deep and head-spinning close.

This is a record to be packed and played throughout the night and day, and we’re happy to have the chance to get it back onto turntables - all in good time.

The four horsemen are the rhythm section of The 18th Parallel riding down the plains to the sound of an heavyweight stepper inspired by the late 70s playing of the Revolutionaries at Channel One. Slow, refined and powerful, the interaction of the drums, bass and organ leaves room to an otherworldly horns chant calling everyone to dance and sing along. Probably one of Fruits Records heaviest release ever!

The first 7“ of this series features Spanish based UK singer Benjammin known for his superb work with Roberto Sánchez. He chants down all ‘Warmongers’. His singing style reminiscent of BurningSpear’s greatest days sends shivers down your spine! Dub by Roberto Sánchez on the flip.

Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track.

Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush).

The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flügel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix.

For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise.

On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

Luca Trentini's 3rd release on Blessyou, further exploring and perfecting his disco sample-based recipe to dancefloor enhancement. A well put together club oriented tool kit put forth by a seasoned DJ himself, Luca shares his club secret weapons with us once again. Coming on strong on the A side at 124 BPM with a driving momentum splashed with acid nuances - peak time main room Cocktail D'Amore material. "So High!" drops down to 120 BPM with a more playful use of his sample pallets.

Moving down to low 90s BPM on the B side with a downtempo chugger jungle flavoured cruise as he befriends a few animals with a lot to share, including what sounds like a Kookaburra and a few big cats. Something here for everyone.

DJ Support: Enzo Siragusa, Archie Hamilton, Fabe, Fleur Shore, Us Two & VITO (UK).

UK based rising star DXNBY debuts on TRMNL Records as they reveal their next eagerly awaited EP on the Birmingham based imprint, and one of Holland’s newest hottest exports Marsolo completes the package on remix duties.

One of the main artists at the forefront of Bandcamp’s thriving underground market alongside releases on East End Dub’s Belief, Max Dean’s neXup and Ben Rau’s META to name a few, DXNBY brings his in demand signature garage and underground house crossover sound to the label with two killer cuts. The label has already offered up a plethora of sounds across the underground electronic spectrum with releases from credible names including East End Dubs, Yaya, Djebali, Ray Mono and Samu.l

Title track ‘Ozone’ oozes everything that TRMNL as a brand and the second city champions - warping basslines laid down in a fast-moving fashion for those peak time moments. ‘No Return’ continues the mind-bending journey with cleverly manipulated vocals, skippy drums and hypnotic samples before dropping into another uniquely assembled heavy hitting bassline.

Dutchman Marsolo follows up from impressive EP’s on Prunk’s PIV and East End Dub’s Eastenderz by stepping up with his take on ‘Ozone’ - as the remix takes you into after hours territory with skippy drums and a cutting bassline that creates moments encapsulating the true essence of the underground

The Knife’s Olof Dreijer introduces Colombian - Swedish percussionist and DJ Diva Cruz with a new collaborative EP on Dekmantel Records. The 'Brujas' EP follows the debut of their exciting hybrid live show at Sonár Istanbul and ahead of upcoming performances at Sónar Barcelona, Dekmantel, and Øya Festival. Together, opposing patriarchy, racism, colonialism, capitalism, and immigrant challenges, they joined forces in Olof's studio, resulting in the creation of the ‘Brujas’ EP, where Diva debuts her voice. The 'Brujas' single and the entire EP, meaning "Witches" seeks to inspire us to find that powerful ancient energy within ourselves.

"I dream to empower everyone who feels outside the box with my lyrics. It is so sad to see children singing and dancing to music made by male artists whose lyrics degrade women, and on top of that, they win prestigious awards while doing so. I dream for a better world and especially Latin America, which needs to change the macho perspective and work together for a better world for everyone," says Diva Cruz.

As a percussionist Diva brings a combination of fierce live percussion together with a rhythmic blend of tunes from all over the world during her energetic DJ-sets. She has also been the lead percussionist for both Fever Ray and Robyn on their world tours.

Olof quote: I’m very excited about sharing this music with the world especially since it’s been a few years in the making. I’m very grateful to work with Diva. She has shown me a new world of music and I feel like I keep evolving and learning new things all the time, especially with our new live show when playing percussion together.

According to Various Artist for Sequel Records, it includes tracks by Stanislav Tolkachev, David Reina, Albert Chiovenda and Azogiař.
Full color cover and 180g vinyl, limited edition.

Scriptum returns with four original tracks from our esteemed label residents.

After nearly a year of preparation, we present an exciting collaboration between Komey & Wyro, tracks from the innovative D I N, rising star Kame2, and the renowned Direkt.

This release is a must-have for every DJ's vinyl collection!

Modularz label head Developer returns just in time for Summer. 2024. Presenting a new vinyl release pushing new limits recording with slightly increased BPMS and focusing more on driving dark rhythms and tribal hypnotic funk-infused drama cuts. After releasing over 100 records in the last 10 years the man continues to push into the next 100 with sure thing works and gaining the pressure knob on every track. this is a must if you want to destroy buildings. TIP!

Common Labour finally returns to the record press with their milestone tenth 12″! The four-tracker by pothOles perfectly balances crisp percussions and bassy grooves with evocative sprinkles of synthetic harmony.

His buddy Yaniel joins the party, collaborating on two tracks. The guys go way back to 2003 with their boy band days as the A.M. Specialists trio (comprising Samuli Kemppi, Yaniel, & pothOles). Most renowned for “Polar Zoo”, Danny Tenaglia’s power play at the Vinyl Club back in the day.

As you hear, their musical alchemy hasn’t dwindled one bit though. Much like the fading autumn light of a forest lake, this is tasteful deep-house at its most nostalgic and seductive. Big thanks to Fabio Monesi, Iron Curtis, Katerina, Roberto Rodriguez, Session Victim, and everyone else showing the love! Don’t miss out on the limited edition of 200 copies worldwide for the “It’s Been a While” EP.

2024 repress.

Dive into the spiritual depths of Carnatic Music (Southern Indian classical music) - An enchanting journey of devotion and transcendence pulsates with raw sincerity and profound spirituality, casting a spell that transcends boundaries of belief.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

2024 new vinyl repress with different track list on the side B. Reverse Cut Vinyl - This record plays from the inner groove to the outer groove. Comes with a hype sticker.

Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.

Within the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Keshvaya Namaha is an invocation to Lord Vishnu, the protector of creation and one of the other major deities of the Hindu tradition, while Raghavam recites the names and attributes of two of his most popular avatars: the heroic Rama and the playful, loving Krishna.

One of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”

As professor of cultural and political theory in Universicty of East London, Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.

Suburban Architecture are pleased to announce the fourth in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), #002 (featuring Blame and DJ Trace), and #003 (featuring Nookie and DJ Crystl), edition #004 enlists two further legendary names to put their stamp on the duo's material.

Ray Keith is a DJ and producer who requires little introduction. From his beginnings in the Acid House scene of the late 80s through to the present day via Hardcore and, of course, Jungle, Ray's output has been a steady presence in UK dance music for over 3 decades. From manning the counters of legendary record stores including London's infamous Black Market Records to masterminding bonafide dancefloor hits such as 'Terrorist' and 'Dark Soldier', Ray has touched every corner of the scene. For this remix, Ray brings some of his trademark Dread flavour to 'The Drifter' injecting some tough Amen and Bassline energy to the track.

DJ Harmony is another DJ who cut his teeth behind the counters of some of the scene's pivotal record stores, having worked in Lucky Spin and Section 5, while releasing music on some of the most important imprints in the genre, notably including Moving Shadow. Today Harmony is best known as the driving force behind the brilliant Deep Jungle imprint which delivers classic, new and unreleased music from Jungle's heaviest hitters. Recent releases have come from names including Adam F, Dilinja, DJ Trace and, naturally, Harmony himself. Harmony's remix of 'The Believer' takes cues from classic Jungle with a half time break down, giving way to a smashing Amen workout accompanied by the rousing vocal refrain of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

DJ Support: Folamour, Sean Johnston, Severino Panzetta, Francois Kervorkian

After a short hiatus, Loveface are back with their latest offering of their eyebrow raising De-Mix project. Vol 8 consists of a very DJ friendly version of the purple ones 80s high tempo classic followed by a mid tempo proto house groove with boogie flavours of a Scousers cult classic while on the flip they showcase their italo disco/proto house leanings once again, accompanied by a slightly deeper melodic groove for the house heads with 80s leanings. Another 4 tracker with something for everyone.

Ten years after his first full-length effort ‘Man Is Deaf’ landed him firmly in the runnings for DJ Mag’s album of the year, prodigal son Michael Anthony Wright AKA Brassica returns to Civil Music with a deeply accomplished, painstakingly whittled LP of hydraulic electro slickness, rich synthscapes, and hooky, peak-time tearjerkers for the most discerning front-left lifers. ‘Tribeless Gathering’ is a barnstorming testament to Brassica’s stylistic and timbral deftness, touching down in the elusive epicentre of the club/home listening venn diagram with ease.

From the elastic, neon acid pointillism of opener ‘Hop Kweng’ to the mardy, miasmic plod of closing chugger ‘Changa Hill’, Brassica seamlessly segues between avenues of influence, his notoriously omnivorous musical knowledge roadmapping each turn. Raised on a diet of everything from early rave standards to metal, and schooled in avant garde sonics as a student of sound design at LCC, Brassica does a peerless job of sublimating his countless influences into a record of refined, heterogeneous, and most crucially, catchy, club moods.

Less spartan than his more recent oeuvre on Feel My Bicep, and less baroque than his technicolour experiments in postmodern synth pop with vocalist Stuart Warwick, Tribeless Gathering represents Brassica’s triumphant return to the main room, replete with rushy hooks primed for the planet’s finest soundsystems, and passages of heads-down tension bound to draw listeners right to the edge of their seats. Overall it is a concise and refined testament to Wright’s command of spectral sonics and effortless ability to pressurise a dancefloor. It is no surprise that he has also worked as a prolific mastering engineer, tuning music from a plethora of dance disciplines for maximum club impact. This work extends to his own projects (including this one), cementing them as rare expressions of complete artistry from studio to turntable.

As we delve deeper into the record, we are ushered through a series of accomplished and varied club moods, each channelling a unique cocktail of influences, but retaining a warm, ebullient analogue sensibility unique to Brassica’s work. This playful scope of influence calls to mind James T Cotton or Machinedrum’s experiments in dance music form, but Wright manages it all under one roof, wrangling everything from sashaying wub-laden two step to snarling Dillinja-esque FM damage into something inherently his.

Choice cut ‘Change Yourself’ layers an almost Cerrone-like piano refrain over radiant surges of saturated bass, dubby, strobing chords and a jagged, driving break, building to a jaw-clenching apex of dancefloor elation, while the rude, playful half-step of ‘Elevation’ breaks down the vintage speed garage formula into linear fragments, utilising a tight palette of resonant bass slugs, infectious synth leads and Papua New Guinea-style vocal strobes. The aptly named ‘Hold Tight’ fuses heart-in-mouth UK ‘ardkore pads with glissando acid disturbance and surgical snare fills in a formula which recalls the ethereal grit of Nubian Mindz’ 00s experiments in big-smoke break science, while the questing melodic arcs and arpeggiated squarewaves of ‘Pinball Marinara’ could easily have soundtracked an 80s sci-fi epic, beset with sparkling, bare-bones drum programming and hazy beds of sub sediment.

With ‘Tribeless Gathering’, Brassica both irreverently fuses and pays homage to the many unique and weird permutations of UK dance music. The short lived gathering of junglists, ravers and house hotsteppas of a similar name may have long since dissipated, along with the tribes themselves, but across these 11 tracks, he lays a blueprint for a new sound of togetherness.

Welcome to the presentation of the new catalog RQM020: Francesco Passantino's Cosmic Rhythms EP. This work offers four tracks that blend the roots of the '90s with a fresh vitality of 2024, representing a journey through the artist's artistic evolution. Ideal for vinyl DJ sets, these tracks provide compelling rhythms and engaging atmospheres, making them an indispensable addition to every performance.