Buscar:full bass

Upon examining the eventful life of Can bassist Holger Czukay,
one might conclude that this intrepid musician was a loner. His
turbulent career exuded an enduring eccentricity governed by a
boundless free spirit. Yet Czukay, who passed away
unexpectedly last year at the age of 79, constantly emphasized
that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an
anonymous manifestation that interacted with him through
radio waves or, as happened later, the internet. Nonetheless,
most of his partners were of flesh and blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast
worthy of a Martin Scorsese film. Only the most interesting
character actors were cast: Brian Eno, Phew, Rolf Dammers,
David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates...
the list could go on and on.
Many of these masterpieces are now out of print, so Groenland
Records, who already released the highly acclaimed
retrospective 'CINEMA' to mark the occasion of Holger's 80th
birthday at the beginning of the year, has taken it upon
themselves to release reissues of Holger's music in order to
make it accessible once again.

Hailing from Denmark, CTRLS takes the steering wheel for KEY042, delivering an EP that embodies techno and raw industrial energy, marking his third appearance on the label.
The A-side begins 'ectomagnetic', a highly rhythmical track building through layers into a dreamy chord progression thats traddles the line between eyes-closed fantasia and full-body pump. In the midst of it all, the bassline drags our attention as its earthy, round essence stands out from the metallic universe created around it. A2 'injection shuffle' is a heavy hitter, characterized by distorted, ringing textures and old-school methodology, boasting menacing drum programming thatsolidifies its status as a peak-time big room monster. Continuingon the B, 'subsumed' offers another mystical journey blending body music with spaced-out melodies, all stamped with CTRLS's unmistakable touch. A sort of sci-fi tension, eerily drawing listeners into its other worldly atmosphere. Closing with 'nanocaust', the EP dives into intense atmospheres led by a broken beat bone and cavernous soundscapes - once again - presenting a general sound which will make you feel a different kind of energy.
Strong package of densely populated sonic environments, all inline with the sound of KEY.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.

Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.

While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!


Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop!

2024 Repress

SHDW & Obscure Shape are back with their second EP for 2023, following their debut release on their mothership label From Another Mind. The German duo's latest release, 'Basic Instinct', is a collection of five dancefloor anthems that provide the perfect soundtrack for any moment in a set. The EP features their signature die-cut cover and includes a digital bonus track.

'Basic Instinct' is the 12th installment of their Mutual Rytm label and showcases the pair's exceptional production skills and innovative approach to electronic music, with a mix of old and new school flavors, vivid drum programming, organic percussion and captivating melodic elements. The A-side kicks off with their signature track 'Eraser', which blends crisp drums with warm sub-bass and piercing synth stabs.

"Dancer in the Dark" takes a deeper dive into late-night territory, combining lush dub-influenced synths with a rolling acid bassline. "Disturbing Behaviour" closes the A-side and shows why the 303 has become an iconic tool for producers. Despite the sirens dominating around the breakdowns, the simple two-tone acid stab is the defining element of the track, complemented by amen-break leaning drums that hint at a UK rave direction.

The B-side goes in a different direction, with 'Memories of Nobody' taking a filtered and less aggressive approach, as echoing dub pads gather around a growling bassline and kick drum combination, topped off by brushed hats. The EP concludes with 'The Last Seduction', a track that reveals the full organic breadth of the previously hinted at Amen break. The fusion of said amen break with the warmth and familiarity of waxing and waning pads is reminiscent of the golden days of electronic music. With its expertly crafted soundscapes and diverse range of styles, 'Basic Instinct' is yet another stunning release from SHDW & Obscure Shape.

2024 Repress

Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.

Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.

Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.

Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.

Anonymous British funk studio outfit Ultrafunk was spearheaded by Blues & Soul magazine proprietor John Abbey, who ran a fashionable record shop and label called Contempo in London’s West End during the 1970s; he conceived of the group as the UK counterpart to US studio bands like Mfsb. Arranger Gerry Shury, who had worked with Barry White and Maurice Gibb of the Bee Gees, drafted guitarist Chris Rae and bassist Frank McDonald (who often composed library music together) and future Rubettes drummer John Richardson to form the group, in situ. A lack of band photos, suggestive song titles and a predilection for American cover tunes led many to believe the band was US-based. Their self-titled debut LP is where the myth all begins, with a number of truly atmospheric and cinematic hard funk instrumentals, given added textural depth through full orchestration, including covers of Bill Withers’ “Use Me” and Stevie Wonder’s “Living In The City.” Though not quite as compelling as the better-known follow-up set, Meat Heat, there is still plenty to savour on Ultrafunk, making this debut companion disc a must-have for all true funk aficionados.

Demuja gets us ready for summer with four sublime, bass-drenched house & techno rollers on MUJA. Don’t sleep on this one!

DJ Feedback:

Honey Dijon -Amazing Ep!

Okain (Talman / Infuse / Pleasure Zone) -Nice Detroit vibe on Solid Pleasure and Square One

TEED Totally Enormous Extinct Dinosaurs (GrecoRoman, Polydor,) -loving solid pleasure and if you want

Peter Kruder (Kruder & Dorfmeister / K7) -Solid record ! Thank you !

Nightmares On Wax (Warp Records) -If you want is my jam on here

Laurent Garnier -Demuja does it again.... Great tracks , great EP *full support

HAAi (Coconut Beats) -Deep and groovy house tunes, love the vibe.

Dam Swindle (Heist) -diggin if you want!

Radio Slave (Rekids) -'Solid Pleasure' is great... Gonna test it out this weekend !

Gerd (4Lux / Clone) -great tracks... all are very cool... square one may be my fave!

Two years after her debut on SPFDJ's Intrepid Skin, Valerie Ace is already counted as a quickly rising voice in techno, her work featuring on Anetha's Mama Told Ya, Mala Adh, Haven, and more. In 2023 she founded her own Hardwon imprint, now on its 8th release and featuring established and upcoming names like Ryan James Ford, WTCHCRFT, and others. Now Rant & Rave offers her third vinyl full EP, Givers & Takers, confirming her premier place in contemporary techno. The title track starts ominous, pensively drawing tension over a slow breakbeat as busy percussion patterns interlock, leading into its intense second half, where heavy bass doubles down and pushes to a bruising climax. 'Eat Dirt' takes after its title, grinding faces into grit as it switches between breaks and straight sections while pounding the floor into submission. 'A Moment Lost' loses no time charging out of the gates, ratcheting tension with quickly evolving snares, the filtered bass punches driving the track over steadier, atmospheric background sounds. The afternoon or afterhours vibe of '3PM' is accentuated by seasick synth layers contrasted against malignant drums, unsure if the drugs are wearing off or kicking back in for another trip.

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.

As Quinoa serves up its third Cut, the Nutritionist's Guide To The Galaxy's plot thickens with its second installment. A split EP chock full of the complex carbohydrates and life-giving minerals our bodies need for interstellar travel.



The Carbs are supplied by Brique, who composes a blend of digestible beats that pulsate with steady energy. "The Future" launches us into orbit with its playful synths and driving basses, while "Customer Service Meltdown" takes us on a rollercoaster ride through glitchy melodies, infectious rhythms and a liberating storyline most of us can relate to.



On the flip side, Babu dishes out the Minerals with tracks that are equally replenishing for the souls of tomorrow's space-travellers. "Apollo" elevates us to celestial heights with its euphoric melodies and cosmic atmospheres, while "American War" plunges us into the depths of introspection with its haunting vocals and brooding basslines.



This EP not only tantalizes the taste buds of dancers and cosmonauts alike, it also provides another nourishing piece of the puzzle that makes up a well-balanced musical diet.

The Nutritionist's Guide To The Galaxy Vol. II is the perfect supplement for your next cosmic voyage.

One of melodic techno’s biggest breakout stars, Massano steps up for his Drumcode EP debut. The emerging DJ/producer from Liverpool already gave us a taste of his elite studio capabilities via the fantastic ‘Betrayal’, his contribution to last year’s Drumcode A-Sides Vol.12 release – one of the highlights of the compilation. Massano’s sound hits with a fantastic punch, characterised by super charged sound design and powerful melodic riffs with key releases on Afterlife and his own Simulate to date. His ‘Telepathic’ EP reinforces why we’re rightly so excited to have him on Drumcode. The title track is a juicy psy-laced stomper, propelled by a menacing low-end vocal that adds plenty of atmosphere to the cut. ‘Destructure’ is formed around rattling percussive effects, before euphoric melodic layers build in intensity throughout the second half. When the two elements coalesce, we’re treated to a track with immense peak-time power, that never loses its unique edge. ‘The Method’ is a melodic ace, shifting between laser-kisser dynamism and full throttle bass-driven energy.

LIMITED Quantity. Deep dive into the realm of electro music. Hypnotic multi-layered baselines, unpredicted drops and bursting beats would make precise, nevertheless not full definition of this EP. Following the
debut of the sequel with an exhibition showcasing artwork’s creation and conceptualization, we face SEQ002: False Destination, a new chapter where the story continues in an unexpected way. It holds the question, to which unknown territory did the agent headed from his collapsed dimention? – Side A takes you on a journey that echoes the spirit of interdimensional travel, a recurring theme in electro music. Impact One throws you into a captivating sonic environment, grabbing your attention with distinct sonic events, all layered over a foundation of subtly shifting rhythmic patterns. A2 is another mention of wrong dimention, hard alterations on early 90s Rave revivalism with peculiar artifacts and touch of blue note with breakbeat burst out conclusion. –
On the flip, a couple of heavyweights. Thick kicks jumping from 4 tothe-floor to broken beat, uncertain breakdowns and unexpected amen breaks driving audience on the edge. Hypnotic bassline for B1 was characterized as Giorgio Moroder on steroids. Last track is a calm blend in ending on a hybrid cosmic breaks combined with Yamaha DX7. – ABOUT ARTWORK This time comic-like backside artwork has an insert accompaniment to immerse within the world created by the artist behind the record. AI has been used to create artwork, generating imagery as a way to bring ideas to life. It offers a cryptic clue, a fragmented piece of the puzzle that complements the music to tell the story

CEP Records is ready to release its first various artists compilation. This collection features six tracks with a wide range of groovy, funky and driving techno.

On the A-side, Alec Dienaar kicks things off with a gripping atmospheric tune, introducing top-notch groove elements and catchy vocal shots. Cult’s track ‘Big Pimpin‘’ displays his signature, featuring snappy filter cuts, driving drums, and a dogged energy. Closing out the A-side, KAIPE takes a funkier side with a leading bassline and a memorable melody that exacts attention. Next up, Marcos Fagoagas delivers ‘Surreal Awake’, a track with a uniquely structured low-end and self-sung vocals that retain the rhythm organic. ‘Feel So Alive’ by SOURCE CODE embodies a full-on summer vibe with infectious vocals and tuneful high-pitched stab elements. Bringing this release to a close is THD+N's dub techno gem ‘Voicemail’, characterized by a winding synth line and timeless vocals that captivate throughout.

The vinyl express keeps rolling. After celebrating Ten years JEAHMON! we are back with label head Marc DePulse who presents his new series “Fingerprint”. Nasty beats. Low drums. Tireless drops. Rolling basslines. Tremendous subs. Tape emulators. Heavy guitars. Acid pots. Dark percussions. Snare rolls. 4/4 time. Headbangers. Attack and release. Fully charged energy. Trippy breaks. Weird breakbeats. Crazy rhythms. Mystic pads. Heartbreaking leads. Squeaky synths. Vocal snippets. Memorable phrases. Powerful speeches. Industrial charm. Metal bangers. Slowed down. Speeded up. Retro vibes. Modern wave. Disco elements. Same same but different. Peak time. No limits. Out of the box. A box full of colours. Painted arrangements. Equalized. Compressed. Limited. Signature sounds. Electronic earworms. Handscript. Fingerprint. Play. Rave. Repeat. Hugs & kisses. Spread the word. Share the vibes. Peace, love and freedom to everyone on the planet!

Classic South African house / Kwaito album on vinyl for the first time.

Originally released on CD in 1995, this album which is associated with the birth of South African street music genre – ‘Kwaito’ and dance/dress style ‘Pantsula’ is now remastered for vinyl from the original tapes – resulting in the best sounding version of the recording to date.


Regarded as one of the earliest full length Kwaito albums, ‘Sigiya Ngengoma’ was released just one year into South Africa’s new democracy in 1995. Characterised by ‘mid-tempo’ beats, heavy bass hooks, adapted breakdancing and vocals in informal Zulu and other South African languages; ‘Sigiya Ngengoma’ would form a critical part of the South African street music movement that now has its own fashion, crews and dance style.

It helped post-democratic South Africa define its own musical identity and would pave the way for other Kwaito releases that ultimately led to the emergence of Amapiano years later.

At its best, Bristol's scene has been marked out by the artists with an independent spirit. Not just the self-reliant DIY approach to getting the music out there, but a unique, inventive slant on emergent sounds which feed into the city's storied reputation. Flynn & Flora embody that idea, having come up in the nascent Bristol jungle scene while offering something wholly different to their peers in fabled crews like Full Cycle and More Rockers.

The duo were absolutely connected to the wider community, but they followed their own path, and the records reflect that. They're not as widely name checked as the likes of Roni Size, Krust, or Smith & Mighty, but their legacy is just as rich with personality and flair, offering that indefinable twist which sets West Country rhythms apart from the sounds in London or elsewhere. City Road wanted to recognise that fact with a modest 12" which cherry picks four crucial early cuts from Flynn & Flora's archives, before they went on to produce three LPs and a series of 12"s up to the mid 00s.

"We knew as much as anyone else at that particular time," recalls Flynn. "Samples, hip-hop breaks, bass lines. You've got your synth, your drum machine. It's all you needed. So that's what we did."

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shopof the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shop of the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

Repress!

Early ‘80s boogie business from De De, ‘S & M (Sexy Music)’, gets a much-deserved, official reissue. OG copies regularly trade hands for £30+ so it’s high time this sweet sexiness found its way out of more sound systems.

With a title like ‘S&M (Sexy Music)’ it was only ever going to be a sleazy, sexy, synthy heater, drenched in tantalising keys, spacey arps, funk guitars and salacious vocals. And with the production prowess of George Kerr & Reggie Griffin behind it - who produced, wrote and arranged for the likes of The O’Jays, Treacherous Three, The Whatnauts and Patti Labelle to name only a handful – it had certified party starter written all over it!

Two mixes take either side of this full frontal 12 inch. The A side houses the ‘Rated G’ mix, where layered vocals trade off from male to female and sleazed up saxes parade through the later stages as that short but sweet rap rolls around. The B side’s ‘Rated X’ mix adds even steamier verses with ever more female power behind them and extra unadulterated, squelching bass into the pot.

Sensuous offerings from De De that will get any crowd crying out for more.

2026 Repress

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Next up and with a label debut is one of the leading Female artists on the circuit, Tini Gessler! Tini dropped some straight-up club fire on our sister label Toolroom Trax earlier in the year alongside Juliet Sikora and digs deep into her clubby roots once again with 'Do What You Want'. After releases on the mighty Drumcode, Sola and Kittball in recent years, her 10 year career is going from strength to strength which is seeing her DJ all over the Globe on a weekly basis and her music production is making huge waves within the industry, and rightly so. Next up Italian born DJ and producer, CASSIMM is back on Toolroom with a straight up club weapon! After laying down the delicious disco number last year called 'Get On The Funk' with Kid Enigma, this follows suit perfectly and fuses chunky beats, disco licks and has Bruno Blanc sharing some sentimental lyrics about how important house music is to all of us. Last but not least, French artist Tony Romera is back on Toolroom with another slice of Tech House fire. Tony Romera first stepped onto the scene 10 years ago as a fresh-faced 20 year old looking to make waves and disrupt the electronic music world with his unique style and French-house inspired beats. Since then he's been busy releasing music and experimenting with different sounds and styles, putting out music on a range of powerhouse labels and gaining support from the likes of Diplo, Fisher, Chris Lake, Fatboy Slim, Deadmau5, Vintage Culture, Adam Beyer and more. House Y'all's distinct character is built upon a warped, creeping bassline and tough, relentless beats providing an irresistible pulsing backdrop as the familiar chanted vocal emerges. A sonic trip that transports you deep into the heart of the underground.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

To Follow Polaris" ist ein neues Progressive-Rock-Album von The Tangent, das es in sich hat. Das ist nicht unbedingt eine Überraschung...dafür ist die Band bekannt. Aber gleichzeitig ist es auch etwas anderes. In einem Jahr, in dem die Mitglieder von The Tangent auf der ganzen Welt mit Steve Hackett, Soft Machine, Karnataka, David Cross, It Bites, Cyan und anderen auf der Bühne standen, wurde klar, dass es keine Zeit geben würde, sich für mehr als einen Gig im April 2023 zu treffen. Also einigte sich die Band darauf, dass Bandleader und Hauptsongschreiber Andy Tillison das Material sammeln und ein Album von The Tangent ganz alleine aufnehmen würde. Es würde immer noch The Tangent heißen. For One. Das zwischen Januar und November 2023 produzierte Album zeigt Andy in gewohnter Weise mit seinem Mehrfach-Keyboard-System, fügt dem Mix aber seine erste jemals veröffentlichte Performance an der Bassgitarre und seine zweite am Stick-driven (elektronischen) Schlagzeug hinzu. Hinzu kommen elektrische und akustische Gitarren und elektronische Bläser, und dies ist in jedem Sinne des Wortes eine Full-Band-Aufnahme. Vom Konzept her behauptet Andy, das Album sei, ähem, "sehr optimistisch", aber regelmäßige Hörer seiner Arbeit werden korrekt vermuten, dass dieser Optimismus nicht unbegründet oder zu simpel ist und dass Andy Hindernissen, die diesem Optimismus im Wege stehen, sehr kritisch gegenübersteht. Und das Album blickt ebenso sehr in die Dunkelheit wie ins Licht. Insgesamt lautet seine Botschaft, dass es ungeachtet des Fortschritts und der großen sozio-politischen Schwierigkeiten, die mit dem scheinbaren Ende der "Wahrheit" als Maßstab einhergehen, bestimmte Dinge gibt, die etwas weniger vergänglich sind und denen man folgen kann, und er verwendet den Nordstern, Polaris, als Metapher für Hoffnung und Beständigkeit. "To Follow Polaris" wird als Deluxe Collector's Edition Gatefold 180g 2LP (ebenfalls mit Bonustrack) erhältlich sein.

2024 Repress
Tooflie keeps up deep-vein research instinct to remake and remodel the hidden gems of the worldwide archive quirks to tomorrow's dancefloor. Label's best-kept secret anonymous producers return with a highly anticipated funk-driven four-tracker voyage to pan-Asian crates, from Bollywood to China with a journey to Uzbekistan and Southeast Asia. They're here to take you on a gleeful joyride around their collective musical imagination: the A side sweeps in with a hypnotic feel via psychedelic swells, tension-building textures, and a bumpy, hardy rhythm, while the next cut is softening sharp edges of Bollywood original and adding sophisticated melodic expression into dancefloor territory. Do the flip to find two more bright refixes' of Chinese and Uzbekistan tunes. The bubbling 303-driven rhythms of the 'B1' are packed with sleazed-up keys, thumping bass injections, and resonant chants. The latest cut goes full-on ecstatic disco mode and finishes the release with a clean, floor-filling edit of a rare uplifting slice of Uzbekistan's celestial magic. Vinyl-only and in a very limited quantities as usual!

Revisiting Duncan Forbes’ debut solo album ‘Return Of The Strobelight Kid’ on 49North we now have three wonderfully fresh takes on three different tracks from the album.

First up we have Kassian who tackle ‘Floating’ and they step up to the mark with grace and turn in a peak time, hypnotic, yet melodic, tech house groover that will light up any dancefloor.

Next Borai takes on ‘Another World’ and using the sweeping analogue strings from the original he lets them soar over funk fuelled shuYling hats and clattering snares. He draws you in gently and when the bass drops, buckle up for the ride !

The third and final remix comes from none other than Legowelt. His no holes barred high energy take on ‘Serendipity’ is full of analogue warmth and grabs you right from the start. Layers of electro charged arpeggiated lines fuse with the strings from the original underpinned by a driving rhythm to propel you forward into the future and beyond.

The 49North journey continues..........

With a mysteriously unknown release date, “Photochrome” could have been originally put out somewhere between the late 70's to early 80's on the Italian Idea label, which although only boasting a minuscule catalogue of mainly 7”s has gotten the attention of many collectors of European disco obscurities for releases such as “Flavio – Drum Explosion” and “Aleo's Band - EOE”. “Photochrome” features a very organic sound with hints of early electronics that might have been making their way into studios at the time. A fast passed driving bass line layered with what almost sounds like an early 303 bass line and spacey/cosmic vocals. Dry drum recordings give it a naive DIY feel which coupled with the experimental tricks on the vocals results in a very unique sound that has put this release on the radars of diggers world-wide. Now available once again at an affordable price with a new two part bonus beats remix that starts off as a more DJ friendly tool but soon embarks into a questionable full-fledged acid house excursion. Originally only released in 7" format but now re-issued in remastered 12" format.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, San Francisco and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in!

A serendipitous encounter at an SF record store in the early 90s brought together local music aficionados DJ Dan and Jim Hopkins. Their collaboration birthed the legendary Electroliners project, channeling their shared passion for underground and funky sounds into the iconic left-coast rave anthem, 'Loose Caboose', now firmly nestled in your hands. Pooling their musical prowess, Dan and Jim embarked on a journey of sonic exploration, meticulously crafting their signature sound by dissecting samples and breakbeats, infusing the musical landscape with a revitalizing energy. As their reputation grew within the local scene, they found themselves tasked with supplying a track for a promotional CD-ROM by a burgeoning software company.

Through marathon sessions of digging, slicing, sequencing, and exchanging snippets over phone calls, Electroliners hit their creative stride. It was only natural to unveil their creation in the raw intensity of a live rave setting. Thanks to a connection with DJ DRC, they seized the opportunity, and the rest is history. Copies of the record flew off the shelves by the thousands locally, and its overseas acclaim, spearheaded by licensing through XL Recordings in the UK, cemented its status as a bona fide underground classic. But what exactly is an Electroliner you might ask? Jim sheds light on the inspiration: “I delved into books on trains at the public library,” he reveals. “Among them, 'Electroliner' caught my eye, a train line in the Midwest. Given the track's pulsating train horn, 'Electroliner' and 'Loose Caboose' simply clicked.”

'Loose Caboose' is an all-time classic, and still causes much damage on the dancefloor today. Yet another unmissable addition to the MC reissue catalogue, fully licensed from the artists, mastered and cut by Curve Pusher, and available once again available for purchase. Do not sleep.

Feedback Waves - the new imprint from independent label Rings of Neptune - is proud to present Trill, the first and only album by Palomatic. Almost thirty years after its original release on CD in 1995, this beautiful nine-track work is now available on vinyl for the first time.

Palomatic is an alias of Koji Takahashi, an active member of the bubbling Japanese electronic music scene of the early-to-mid 90s. Besides his solo work, he was a core member of Takahashi Tektronix (with Nic Yoshizawa) and Mutron (with Kiyoshi Hazemoto, aka Interferon), as well as working as a synth programmer for supergroup Denki Groove.

Following the release of his debut track 'Halo' on Syzygy Records in 1993, Takahashi made a series of contributions to compilations on the scene-defining Transonic label. His first and only full-length album, Trill, combined these tracks with original material to form an absorbing and versatile standalone statement of the Palomatic sound.

From the oscillating lilt of 'Flutter', which opens proceedings at a measured 104bpm, through to the symphonic epilogue of 'Soar', Trill is rooted in the fertile territory between organic and synthetic sounds - ground that was nourishing the work of many likeminded producers worldwide at the time. West Coast psychedelia and East Coast funk, the moody bass weight of Bristol trip-hop and Sheffield bleep, and the chemical rush of German techno and Belgian trance: with a distinctly Japanese sensibility, Trill drew these strands together into an elegant musical tapestry. The result is timeless - indeed, album centrepiece 'Foaming Waves' would sound right at home on the faster-paced dancefloors of today.

This double LP features an alternative artwork by Feedback Waves co-founder Max Binski.

Cando return to Le Chatroom to inaugurate the label’s first full length EP, backed with remixes by Bakongo and Kouslin and accompanying illustration and graphic design by Charlie Maclagan (AD93/Only Ruins/Shapework).

Since their debut on Livity Sound and subsequent appearances on Par Avion, Pressure Dome and Le Chatroom, Cando have been carefully refining their percussive bass heavy sound. The ‘Clutch’ EP is confident and distinct, from all-out slammers to warm and fuzzy synth excursions — the sound palette is diverse but has Cando written all over it.

DJ Elephant Power (Nicolas Baudoux) based in Brussels, Les Octaves de la Musique awarded musician, is returning with his new EP ‘Blowing From Above’ on May 2024 with limited edition vinyls. The abundantly creative producer never tires of exploring the possibility of new sounds and rhythms. This time he delves deep into numerous genres from breakbeat to bass and he added more colours on each track which composed, performed and produced by himself. Mastering was done by Beau of Ten Eight Seven Mastering in UK. This new EP will be the first page of the upcoming album in June 2024.

‘Blowing From Above’ feat Eunsol

Now you entered the city where you can feel the atmosphere of heat with full of energy. Under the welcome sign of breakbeat and bass, you breathe the dopamine of electronic dance deeply. Alongside baseline skyscrapers covering the sound of this city, mysterious Korean words lead you to hyper pop buildings. Across the traffic lights with barking dog and staccato synth arpeggio on the road, you reach the futuristic bridge between jungle and grime.

‘I Got You’

Under the repeated street lights of ‘I Got You’ scratch samples, you are in the car passing through continuous cowbel 808 sounds on the techno road. In front of the funk graffiti wall, a powerful metal guitar sprays the paint with no compromise. Buildings of synth grab you to follow the new banging club anthem.

‘Shades’

Curly hair architect, who is well known for perfectionism of repeated linear, built a new Mantronix satellite laboratory. This is located on the mountain of Detroit and built on the solid ground of analogue synth signals. Filtered synth and bassline are the main columns of the building. In the main lab, the next satellite has been developing on woah woah sound mattress. Visitors can experience zero gravity in the room in the middle of kick and snare which provides perfect unbalance.

‘Infinity’

A colourful new dish is ready for you. You will feel beautifully balanced and harmonious tastes of progressive techno, trap and bass. This astonished dish was sourced the very best of heavy bass and synth melody for well balanced scent with thoughtful contacts. Geomungo, a traditional Korean string instrument, enhances and amplifies stunning ingredients and it makes a highlight with amazing pairings.

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

London producer Kel McKeown celebrates the release of his tenth album as Kelpe, with a vinyl edition of uncategorisable dance music on Kit Records.

Kelpe's work combines live drumming with synthesis and guitars. Like the nine records that came before it, LP10 treads the line between gauzy melancholia and bustling, dancefloor-ready energy.

Listening to Kelpe's music can feel like fluttering through a photo album at speed. Familiar faces and locations are revealed, nostalgic scenes assembled then scattered by unruly rhythms and samples.

Analogue percussion takes centre stage on LP10. This restless drumming - gear-shifting from hip-hop through to jungle - showcases McKeown's chops as an instrumentalist, while harking back to the scrambled beats that were a hallmark of his early releases.

Kelpe has worked closely with the visual artist Nikita Iziev on this record. Inspired by pioneering film director John Schlesinger, the serendipitous geometry of new wave cinema is mapped out in fractured moments across the music and artwork.

While the track 'Schlesinger' echoes the bouncing unpredictability of the sleeve, 'The Palace Guard Loop' pours neon fertiliser over fender rhodes jazz keys. Adrenalin reaches a zenith on 'Events Proved Me Wrong', as Kelpe hits his stride for a homespun drum and bass workout.

LP10 will be the final full length Kelpe album.

T-RECS bags another winner with this furiously groovy sparkler. From the start, you have a train hurtling full speed at you in the dark. This track wastes no time at all in setting its stall out – pounding bass drums and high-hat are slowly blended with twisty looped vocals and strings building up – all for the big reveal where the rug is pulled right from under you with that super-powered bassline and heavenly chorus. Best served hot with lashings of strobe, smoke and lasers on the dancefloor. An outstanding, mind-blowing 126bpm monster of a tune.

Ukrainian vinyl label ARTREFORM significantly raises the stakes as its important anniversary (a soon-to-be-released 50th record) is gradually approaching. ARR048 is a double record, including three original tracks by Romanian producer Funky Trip and four Barac, Petit Batou, Lorgu, and Lukea remixes. ARTREFORM's founder, Kyiv DJ and sound producer JOSS, obviously trusts and bets on Funky Trip's talents, and this bet looks set to play out big time. Nicolae Catalin Cimpoier (Funky Trip's actual name) is a notable representative of the new
wave of the Romanian electronic scene that catapulted many stars to global fame. Thanks to a series of successful releases on Rawax Music and Stamp Records Paris, this Bucharest musician perfected his recognizable sound of crystal-clear minimal house, embellished with warm emotions and exquisite, shimmering melodies. Now it's high time Funky Trip transitioned to vinyl!

The second part of ARTREFORM's latest double vinyl release captures a new Romanian electronic scene star, Funky Trip, presenting a track called "Magic Woman." Just like femme fatale encounters often tend to, this occasion leaves one too many questions unanswered. Funky Trip's signature minimal house maintains tension through a looped leitmotif while the rhythm section and spacious ambient pads gradually trick the listener in. "Magic Woman" has the appeal of an ideal "second track" in the mix, the one intriguing enough yet leaving space for further narrative development. Funky Trip's delivery is delightfully contrasted by a beautiful remix by Lorgu that brings to the table an atmospheric, groovy house with many small nuances. The next track, "Les Voix," is another collaboration with Mia Zedan and a perfect specimen of ARTREFORM's sound pedigree: a powerful bass line coupled with an energetic and inventive tech house beat. However, its full depth of immersion takes effect via a remix by Lucas Morello, known as Lukea. His sci-fi-infused vibes of cosmic alienation and observation elevate this remix to the adornment of this Romanian-French-Ukrainian fruitful
creative collaboration.

Early support: Barac, NTFO, Lukea, Sam Farsio.

Überkeine sets the tone of his own record label with four esoteric tracks, designed for the club. An obvious intention to establish a radical style with conceptualized sonorities, is revealed throughout the Ep. The sound materials are elaborate, and go straight to the point. Obsessing over the flow of creativity offered by his modular synthesizer, he delivers a very dense techno and already affirms a well-marked identity. Powerful and textured kicks, intricate synthetic sounds contained in an arrangement reduced to the essential. The tracks come to life as the forthright reflection of the thoughts of the producer. Guillotine Whistle instantly plunges into the unbridled world of the Ep. An ominous atmosphere hovers over our heads as it reveals organic and disconcerting tones. A gentle brutality emanates from this whistling guillotine that awaits to cut you up in two. Leading the way towards Drifting Data, a track inspired directly from Jungle Patterns. Überkeine is humbly trying to render DnB to a techno format. The dense, saturated Bassline sustains the idea of breaking the dancefloor in pieces. A hard hitting, broken beat environment accompanied by heavily filtered synthetic chaos. Third track’s the charm, the B side starts with Mirror Moist. A drop-down, wet and straightforward techno track with a carnal Bassline. As sensual as it gets, this track conveys a kinky loop urging intimacy and blasting heat throughout the club. Last but not least, Shaney’s remix of Mirror Moist. Picking up core elements of the original vibe and translating it into the off-beat techno nightmare it deserved to be. Full-on obscure dancefloor piece of equipment.

2024 edition of the single that marked the return of Joe Bataan in 2004. A dancefloor favourite by the King of Latin Soul!

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás. But first came out the preview 45 'Chick-A-Boom' / 'Cycles Of You', which quickly became a DJ favourite and guaranteed dancefloor filler, long out of print until now. Let's hear Collás explain how it all happened:

"This whole project grew out of a song called 'Cycles of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

"By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles of You'. The funny thing is, 'Chick A Boom', a live favourite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single."

Jack's House Recordings favourite (Alex Arnout), is back with another 4 track solid EP. This is the 3rd EP with Alex signed to the label. Alex was the first artist to release on the imprint back in 2016 with sell out Confirmation Bias ep followed by the Sync Jam release and further productions on some of the Jacks Tracks VA series. This latest offering with the new Burn EP does not disappoint


This limited vinyl press offers 4 distinctive tracks showcasing Alex's ability and talent to seamlessly blend influences from different genres making his production unique creating his staple sound.


First up is Burn which kicks of with tough tech beats quickly followed by some punchy chords before it develops into a beautiful fusion of an energetic original tech house sound merged with what can only be described as a pure soulful touch with the vocal snippet which occasionally and simply sings the the title track lyric (Burn). You could describe it as Tech soul if that were a thing. Punchy, warm and energising with a touch of a romantic notion in there while maintaining the techy roots, you will have this on repeat.


2nd up is Tribespeople, which takes you into Alex's tougher side. Leading with a full on kick and rounded sound, it is perfectly suited for true underground dance floors at the height of their energy, or to wake it up, this track is made for the committed clubber that really likes to go for it ! The track is laced with subtle fills that will jog your memory and take you back to the original days of rave. This is pure underground bliss.


On the flip side, is the popular Punkadelic. This was originally released back in 2022 on Jacks Tracks VA Vol 5 alongside tracks from Terry Francis, Lex & Legit Trip. It was always intended to be a vinyl release, so by popular demand, it is finally going onto wax, where it deserves to be. Punkadelic is dark with a real techno vibe, but even in here, if you have a good ear, you can hear subtle touches of Jazz in the percussion, which yet again showcases Alex Arnout's unique talent to fuse elements of different genres in an especially classy way.


Last but by no means least, is a slightly different flavour with the track Recall. This is a slightly more laid back number, but still punchy with a good chug to it, and keeping within the sounds of the underground. Vocal snippets are spoken and broken throughout the track laced over some ghostly chords accompanied by swinging hats, claps and a fierce bassline.