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Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of
electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after
experiencing their new album, ‘Memória da Pedra Mãe’.
Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous
album (released by Saliva Diva in 2020) was recorded in Chaves,
in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this
latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones"
found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the
importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that
is both natural and conflicting, since it mirrors a tension between past, present and future".
The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this
new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards
(acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in
"Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation
with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka
AZAR AZAR (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces
their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this
music as part of a wider set of coordinates.
Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of
Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different
instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the
idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater
fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And
there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic
references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense
that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future
is the best of all locations.

The Hammond organ was first manufactured in 1935. In 1954, the now famous Hammond B3 model was introduced with additional harmonic percussion feature. When the company went out of business in 1985, around two million of various models of the Hammond organ have been produced.

The Hammond B3 was originally marketed to churches as a lower-cost alternative to the wind-driven pipe organ. It quickly became popular with professional jazz musicians in organ trios. Jimmy Smith's use of the Hammond B3 inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in rhythm and blues, rock, reggae, and progressive rock.

This collection is centered on the exciting and dynamic sounds of the Hammond B3 organ!

Since the early 90s Rotterdam is known throughout the world of dance music for its many influential creative endeavours and one of these was the short-lived label See Saw. Active between 1991 and 1995, the label was the home to mostly Dutch producers who were just dipping their toes in the waters of house and techno. Or, who already had a whole leg in like Speedy J.

Sandwiched between two of his early releases as The Melody (Discogs detectives know what’s up!) sits The Jewel EP, the only EP Gijs Vroom did under his Diamonds & Pearls alias. A kind stranger online once described the record as effective and joyful and we couldn’t agree more. It’s a mixed bag of zippy breaks, swirling pads, tight Lately basses, and foxy vocal snips and like many records of the era it maximises charm with minimal equipment. It’s these kinds of twelve-inches that stood at the cradle of the Dutch house sound and so it is very deserving of a little nook in your record bag.

repress !

Kompakt welcomes a force to be reckoned on the fitting home of Speicher - Denmark's Rune Riley Kölsch. How appropriate that this talent was bestowed the (real) same name of the liquid gold that cascades from the taps of local watering holes in the city of Cologne

2024 Repress

Brazil born - Barcelona based ANNA returns to her new home SPEICHER - for the second time this year - following an incredible breakthrough year. If you went out to a club in 2018 you undoubtedly heard HIDDEN BEAUTIES and touched countless people with her sincere and unabashed passion for techno and DJing.

SPEICHER 105 presents a different side of ANNA - her remarkable production skills continue to shine as she looks more inward with REMEMBRANCE. This depth charged masterpiece needed to be concocted into a duel; a broken beat main mix and a four to the floor rendition of which you can choose your own adventure with. WHEN I AM ONLY A DREAM continues the path she trail blazed on SPEICHER 101 that both is punishing and caressing the dance floors of tomorrow.

Die gebürtige Brasilianerin ANNA aus Barcelona legt nach ihrem unglaublichen Durchbruch mit SPEICHER 101 zum zweiten Mal in diesem Jahr auf SPEICHER vor. HIDDEN BEAUTIES war 2018 zweifellos in keinem Club zu überhören und ANNA berührte dieses Jahr unzählige Dancer mit ihrer aufrichtigen und unerschrockenen Leidenschaft für Techno und DJing.

Auf SPEICHER 105 präsentiert sich ANNA von einer anderen Seite - ihre bemerkenswerten Studio-Skills glänzen weiter, wenn sie mit REMEMBRANCE nach innen schaut. Dieses tief aufgeladene Meisterwerk musste wie in einem Zweikampf gegenüberstehen: der gebrochene "Main Mix' und sein four-to-the-floor Rendering sind je ein Abendteuer für sich. WHEN I AM ONLY A DREAM setzt den Weg fort, den sie auf SPEICHER 101 eingeschlagen hat: höchste Höhen und tiefste Tiefen für den Dancefloor von morgen.

What I Breathe is the debut album from Mall Grab AKA Jordon Alexander. The Australia-born London-based powerhouse reaches within to create the most comprehensive demonstration of his style to date – loudly defining the raw energy that has become synonymous with the moniker.

“This album is deeply personal and an exploration of all influences, sounds and sides of the Mall Grab project. It follows my journey of the last 6 years from a university dropout in Newcastle (Australia), making music as a source of happiness and expression.”
While glances of what Jordon gravitates towards in dance music can be heard in the record label imprints he steers—Looking For Trouble and Steel City Dance Discs—it's with What I Breathe that he elaborates on and articulates his diverse ear for music. Through collaborations with Brendan Yates of Turnstile, Novelist, D Double E and Nia Archives, the Mall Grab repertoire of emotive electronics is used to traverse his love of hard-to-define energies that exist between genres like Hardcore, Hip-Hop and Soul.
“I have been lucky enough to work with some of my favourite artists which have really been the glue that keeps the project coherent. There are a lot of familiar sounds on this album that my listeners and followers have become accustomed to and joined me in the deep dive. Elements of emotional but hard and pumping club music are intertwined with House, Jungle, Rave and Grime. My adopted home city of London has been a huge inspiration to how my music has evolved and progressed, and on What I Breathe I wanted to create a body of work which not only had something for everyone who has been with me the past 6 years, but also those who aren’t yet aware of what I’m about or the music I make.”
Jordon’s long-standing penchant for all things DIY blossoms in tracks like Lost In Harajuku and Without The Sun which feature his own original lyrics and vocals. As the album twists and weaves from one song to the next, gleaming melodies flare up into club-ready anthems such as Metaphysical and Breathing. The kinetic flow of the music as a whole can be attributed to the many years of cutting his teeth as a DJ, a skill that can be testified by anyone who has witnessed a Mall Grab set.

“As I was a DJ for many years before I delved into producing electronic music, I had a wide appreciation and love for all types of music, predominantly gravitating towards ‘band' music when creating my own projects, before evolving into a fully-fledged electronic producer – however always retaining the influence and love for all things live and genre-fluid.”

Even with a stack of very well-received projects already under his belt, What I Breathe can be seen as the first deep breath in and a fierce declaration of what’s to come for Mall Grab.

“I’m grateful for everything and everyone in my life, those I love and those who support my music, through all the ups and downs. I live and breathe this shit. I cannot do anything else. I will continue until there is nothing left for me to say.”

Jacy's pioneering work in house music, with vinyl releases on Home of House and Safe Trip's 'Welcome To Paradise,' defines the 'Dream House' movement, showcasing his influential fusion of rhythms and soundscapes in electronic music.

Memory Remains is back

Recut & Repressed!

The first track is an edit of the Ukrainian group Kalush and rapper Sofka on their track called " home "
And other "edits" were tearing up the dance floors of the whole world!
You can be sure, MR never let you down!

The New Mastersounds have been performing live and making funky organic-sounding records for 25 years. Starting out in Leeds, UK, having initially appealed mainly to old-school DJs and vinyl collectors, they managed to build fanbases across the USA, Japan & Europe.

The album comprises ten original instrumental tunes composed and performed at the keyboard player's studio in the heart of the English Peak District during a rainy week in July 2023. The tracks showcase the earthy essence of the band via its signature vocabulary of uncomplicated funk, soul-jazz, classic R&B and reggae-infused grooves.

In the UK selected tracks from the album will be featured on The Craig Charles Funk & Soul Show on BBC 6Music. An extensive US tour is planned for Spring 2024 in support of this release.

Eddie Roberts - guitar & tambourine

Simon Allen - drums

Pete Shand - bass guitar

Joe Tatton - organ and piano

The Lovely Eggs return with new single 'My Mood Wave' to be released February 9th digitally & on a 7" single to follow March 15th. New album due in May. It's been four years since the world heard any new music from our heroes in psych-punk-power duo The Lovely Eggs. Four long years since the release of their Number 1 Independent Chart topper, 'I Am Moron'. But it's not like they've been lazy, oh no. They made their own TV series EGGS TV and hosted it on YouTube, they duetted with Iggy Pop, piled into their van and played a load of sold out gigs and festivals, spent two years fighting to save Lancaster Music Co-Op (a community rehearsal rooms and recording studio where they live), and then they got their heads down and wrote a new album_ Due in May, the new Lovely Eggs album was recorded by the band at home in Lancaster with production work from Flaming Lips producer Dave Fridmann. They flew to America in December 2023 to mix the album in Fridmann's studio in upstate New York and we'll all get the chance to hear the first results of these sessions on the 9th of February, when the band will unveil the album's first single, 'My Mood Wave'. "My Mood Wave is kind of an internal thought monologue," says Eggs singer and guitarist Holly. "It's a brain on a surfboard, trying to navigate the barrage of daily shit that gets washed up each day. It's a coping mechanism handbook for people who sometimes find the world too much." 'My Mood Wave' has an uplifting contemporary feel, haunted by a West Coast retro vibe that pulses and shimmers with a gorgeously addictive melody that will float around your head for days. Although the single will be released digitally on February 9th, there will also be a physical 7" with the customary mind-bulging artwork from Casey Raymond, and an exclusive track tantalisingly titled 'Crab Shell' on the flipside. The 7" will be released on Aquamarine transparent vinyl and in true Lovely Eggs style. More details on The Lovely Eggs new album to follow...

For their first new material in two years, Warpaint reunited with Rough Trade, the label behind their debut album and creative home for most of their existence. "It makes us smile to release them in collaboration with friends and family at Rough Trade," the band say, continuing "It feels like a perfect return to where it all began! With these new songs we tie a bow around this time in our lives, and all the experiences and songs we"ve shared over the years. It"s been an incredible journey and taken us all over the world sharing good times with beautiful people. Our hearts are full!" Warpaint"s Theresa Wayman says of "Common Blue", "It started with the chord progression on guitar. Jen and I jammed it in her living room in Echo Park and it became a song. We sent it around the houses (Stella and Emily"s houses) and all its elements were brought to life. It"s intended to inspire freedom! Common blue. Rising up again and again, climb a ladder to the sky, catch the view like a butterfly! Everything is possible... it ain"t over till it"s over!"

Yuki Kanesaka, the multi-instrumentalist/Producer who's been the Mastermind behind his monolog project recordings is back with the delicious uptempo cover of "Watermelon Man". He indulges us with star-studded features of Bill Summers, the percussionist of the Head Hunters and Curtis "Fitz" Williams, the musical director and keyboardist/saxophonist of Kool & the Gang. The backstory is, Yuki traveled all the way to Bill Summer's home studio on Valence Street, New Orleans to record Bill playing a variety of alluring percussive instruments. That includes playing Hindewhu, the style of singing/whistle-playing of Central Africa mixed with a Peruvian Pan flute Zampoña much like the infectious Head Hunters version. Other notable instrumentations include congas, and shekere and Bill's hand scratching used as a human shaker. Curtis Williams plays the lead soprano sax melody we all know and love, with some added clavinet that adds extra sugar to the watermelon funk. B side features a special drum break version called "Bill's Valence Street Jam", so you can really savor the mouthwatering groove of the Watermelon Man. Both tracks are performed, produced, mixed, and recorded by monolog aka Yuki Kanesaka.

Now its time for the new Bombsplit 03 on Bombtrap Records.

we´re very happy to share this Split ep which aims to blur the lines between EBM, Industrial, Electro and the harsher site of Techno.

2. Regular Edition Black 200 Pieces
Craftpack Black with glued Sticker


......the first Artist is Nojus aka BASK from Lithuana with two massive EBM Tracks.

....the second guy is the Italian producer Nghtly.....Techno, Acid and EBM kicks the floor

....and at last the Belgian guy Ethan Fawkes with his second release for Bombtrap with two Hyperspace Techno tracks......

Warehouse Find!

Following the sold out Theo Parrish remix of Marcos Valle's '1985', here's the second in Far Out's Brazilika 12" with three scorching remixes from UK dance veteran Ashley Beedle. Three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip.

Following the sold out Theo Parrish remix of Marcos Valle's '1985' back in April, the second release in Far Out's Brazilika 12' series features a highlight from Sabrina Malheiros' 2011 album 'Dreaming': the blissed-out, sun soaked samba classic 'Opara', which gets three scorching remixes from UK dance veteran Ashley Beedle.

Currently celebrating a decade since the release of her critically acclaimed debut album 'Equilibria', Sabrina Malheiros has remained at the forefront of modern, soul-infused Brazilian music. Growing up in Rio, the daughter of Alex Malheiros, bassist of Jazz-funk pioneers Azymuth, Sabrina has taken the legacy of samba and bossa nova and forged her own forward-thinking path, taking with her all the style and substance of the early days.

Produced under his Afrikanz On Marz moniker, Beedle's remix brings all the right elements of the original to the fore. The result is three peak time excursions into percussive, soulful house on a stylish, cosmic Brazilian party tip, infused with rich, warm rhodes, synth and flute throughout.

The vocal mix on the A side provides a spacious backdrop of twinkling keys and buoyant percussion to Malheiros' gently floating strains. The other mixes offer similarly floor-focused variations: the aptly titled 'Galactic Flute Remix' on the flip pairs the titular wind instrument with a deeper groove that retains the loose-limbed appeal of the original, plus a bonus instrumental to boot. A sure fire heat bringer and certainly one of the most colourful dance 12's we've heard this year.

The Brazilika 12' series is the new vinyl home to the previously unreleased dance exclusives taken from the Spiritual South mix on CD2 of Far Out's 20th anniversary double compilation, released in May 2015.

Hailing from Kaliningrad x Berlin, new vinyl only label Garderobe, heralded by Malish, launches the first EP release. Limited to 250x copies

Keeping things edgy, deep, and minimal this 3 track release from Bilalov colors darker shades of house and techno for dancers and party people who are seemingly never ready to go home.

Also included in this release is a remix from prolific minimalist dj and producer Alci who delivers a superb remix that keeps the groove within respectable norms of avant-garde minimal for the audiophiles and chin strokers alike.

A genuine gem for any dj’s record bag or crate diggers collection. Honest, pure, and full of integrity this first release sets the tone for things to come and is sure to hit all the right spots during different hours of the party!

Revered DJ and radio veteran Lefto Early bird has announced his album Motherless Father which will be released on 8th March.

Your favourite DJ’s favourite DJ presents his 10-track album; "This record feels like the starting point of a new era, which I’m sure a lot of people can relate to what I mean; the tracks I recorded, the ones I’m singing over and the guests i invited have been my way to deal with the pandemic, the motherless child that I am and the father that I am. I call this record a deep pre-club record, one that will give you the energy to go out there and party but with a feeling of letting go of everything."

Bright Magus is an instrumental quintet born under the influence of Miles Davis' metaphysical electric period, a visceral and magical passion always shared by Giovanni Calella and Leziero Rescigno. Davis' most eclectic and psychedelic period, that of recordings for Columbia from 1969 throughout the 70s. Albums like “In a Silent Way”, “Bitches Brew”, “A tribute to Jack Johnson”, “On The Corner”, “Big Fun” made them immerse themselves in one of the most fascinating experiments that Miles has generated in his long and prolific career. We are talking about music that is difficult to fit into one genre, in these masterpieces you can feel the contemporaneity of that historical period. Electric Jazz, Funk, Psychedelia, Rock, Afrobeat, Ambient, drag you into something absolutely new, mysterious and sometimes furious. Just a year ago Giovanni and Leziero took courage and started recruiting musicians who had to have the right attitude and knowledge. Guitarist Alberto Turra was the first to be interested in the project, then came Mauro Tre, pianist and keyboard player and Gianni Sansone on trumpet. All seduced by Miles and in love with that magical period.

Before making the first album "Jungle Corner", the band did some live shows to amalgamate all the ideas that came out during the improvs recorded by Tullio Treffiletti in the trumpeter's home studio (later baptized Selim Studio). At the Isola Studio in Manuel Agnelli's space and with the help of the very talented Guido Andreani, Bright Magus then recorded in three days live all the material which in the meantime had been enriched with more structured melodic themes and less casual drafts . Mauro's contribution was very important in this. The finalization of the album was then managed by them in the small "Diabolicus Studio" taking care of editing, post production and mixing.

Guest on the album in two songs, Enrico Gabrielle of Calibro 35 on flute and clarinet.

The cover design is a work by Barba Ughi alias BAX.

Nu Groove spotlights the artists that made the legendary NYC label a firm favourite of crate diggers then and now with this 12” release of their vital tracks revisited by leading selectors of today.

The label, born in 1988 by Frank and Karen Mendez as an outlet for the experimental works of the Burrell Brothers, quickly became a home for up-and-coming genre pioneers. In this fashion, ‘Nu Groove Edits, Vol. 4’ opens with ‘Tonight’s The Night’ by NYC favourites How & Little, AKA The Sound Vandals, re-edited by Italian duo NiCe7.

More monikers of Rheji Burrell appear in the collection too, with N.Y. House’n Authority’s seminal classic ‘APT. 2A’ reworked by UK deep tech aficionado Hugo Massien, and The Utopia Project’s ‘File #3’ remixed by Leeds underground duo Mak & Pasteman. Closing out this collection of future classics, GRAMMY award winning production duo Honey Dijon & Luke Solomon return to edit ‘Luv 2 Luv U’ by A.B.T.

The first record consists of edits, entwined loops, percussive beats, and captivating grooves-a synthesis of intertwined memories. It’s an experiments, search for meanings-a humble homage to the genres that have shaped me and the artists who continuously fuel my inspiration. The second is my personal story, as well as my memories, or rather fragments of them, its about my hometown, Yekaterinburg. the devils from the Ural Mountains who climb into my personality from everywhere, the time spent in Moscow that forged my resilience, and the chapter of relocating to Spain in pursuit of a brighter horizon. These are mere fragments of memories thanks to which I am here and now.

Heels & Souls Recordings roll into reissue number eight with a double dose of early '90s UK street soul magic, splitting the sides between two sought-after cuts from Elaine Vassell and 3rd Zone.

Step back to 1993, house music has hit, UK Soul is in full flow and its rawer, DIY street soul sibling is making its mark across the UK’s underground. Fuelled by accessible, affordable production gear and ignited through enthusiasm and an influx of ideas and sounds, two acts drew inspiration from a melting pot of genres they were exposed to, providing their take on soul as they saw it.

Up first, Elaine Vassell - ‘Never Give Up’. A rough breakbeat-driven, mid-tempo groover from a North West London production triple threat, made up of Longsy D, Pinky and Murray. Utilising Pinky’s home studio with its DX7, Juno 106, LinnDrum and 808, they masterminded a track that sits at the intersection between soulful house, hip hop and R&B. Its crunching drum loop, chest-rattling low-end and serene synth lines, lay the foundation for Elaine’s powerful yet emotive voice to take centre stage. ‘Never Give Up’ should have been a future classic, but never quite found its feet.

On the flip side another 1993 gem, as Sansel Ali and twin brothers Mark and Stephen Anglin joined forces to form 3rd Zone. Conceived in Mark’s makeshift bedroom studio, the trio laid down their first foray into recorded music, ‘You Stole My Heart’. Originally promoed as a limited whitelabel in 1991, it officially landed on the group's one and only EP ‘No Real Reason' in '93.

Armed with a handful of synth modules, a drum machine and a Korg M1, Mark, Stephen and Sansel hit with a tough but tender, underground triumph. Part dance, part romance, layering synth strings, chunky breaks and M1 stabs underneath Sansel’s heartstrung vocals and Stephen’s hip house rap interlude, it provides another perfect example of house seen through the street soul prism.

Two timeless tracks that fly the flag for the fact that big studios and big budgets aren't necessary to create songs that really resonate. Each side also contains an alternate version, with the A housing a beatless reprise of ‘Never Give Up’ and the B a tougher, bassier remix of ‘You Stole My Heart’.

Licensed from Pinky Music and 3rd Zone respectively and remastered from the original DATs by Justin Drake.

Slowaxx is the solo project and live band created by Riccardo Chiarucci, a music producer, arranger and composer based in Tuscany (Italy). His first album ‘‘Shapes Interfusion’’ features a unique blend of jazz, electronic music and hip-hop, recorded with a collective of musicians and the rapper Young A.M.A.



The creative process of the album involves a mix of home-studio production and live recorded sessions. Starting from ideas and demos from Riccardo, all tracks are the result of collaborative jams with musicians bringing their own styles and perception to the table. These sessions created a dialogue of personal vibrations, blending together to emerge as a collective soun

New tape from Gabber Eleganza's Never Sleep imprint.
This time its a live recording of Drum & Bass legend / Critical Sound boss Kasra at Fabric with MC's GQ and Mantmast.

The tape is in honour of Shaun Roberts, the sadly departed Fabric booker who was a pivotal figure in the UK's electronic scene. All proceeds go to Bowel Cancer UK

"Fabric played a huge role in shaping me as a music fan and years later became the London home for me and my label. This wouldn’t have happened without the help and support of Shaun Roberts, who left us far to soon in Dec of 2022 after an 18 month battle with colon cancer.

When the Never Sleep crew asked me to contribute to their mix series I knew id like to honour Shaun and help raise some money for Bowel Cancer UK.

Without Shaun and people like him taking chances on people like me the music landscape would look very different.

This is mix is taken from the Critical Sound 15th birthday event in 2017.

Guava is the moniker for Bradley Hutchings, a British producer, composer, multi-instrument performer and DJ based in Berlin. Following up on a string of celebrated club-centric releases, Guava is now set to unveil his first solo album “Out Of Nowhere” in October 2023.

This confident and carefully crafted debut stands as the culmination of a colourful journey kickstarted age 17 years old. From early days in cover bands to European tours as a session musician supporting Men I Trust, Band of Horses or Nathaniel Rateliff, Bradley went on to perform on stage at the legendary Hammersmith Apollo, Abbey Road’s Studio 2 and BBC Maida Vale, as well as in many prestigious festivals such as Green Man, Latitude and more.

In parallel, and while still collaborating with songwriters, Bradley embraced electronic and dance music, finding in those modern and cutting-edge sounds a form of escape-ism as well as a sense of community that fed his creative practice in a whole new way. While refining his sound and enriching his production skills, Guava became a regular behind the DJ decks in parties in both London and Berlin and performed in Corsica Studios, :// about blank or Berlin’s hottest ambient café kwia.

The last few years, have seen him release several well received club records on revered underground labels such as Martyn’s 3024 imprint, Bradley Zero’s Rhythm Section and Control Freak Recordings amongst others.

The time has now come for Guava to synthesize years of teachings and crafting in both live performances and electronic production, all brought together in a deeply personal debut, released through his brand new imprint Guava Noise, a home for his own musical explorations. Enriched with several collaborations and informed by his experiences as a songwriter, this confident and explorative debut sees Bradley Hutchings embrace new directions, gracefully blending the best in UK underground club sounds with an electronica feel.

black.round.twelve is expanding its world and creating a new series focused on releasing long cuts of music spread over an entire record, appropriately named E X T E N D E D. Berlin-based Polish artist Maki Polne opens the project with two intensely hypnotic minimal tracks brimming with detail and production value.

Highly influenced by Berlin, CdV-rooted Maki Polne‘s acute love for quality sound is evident in “Don Joy´s Magic Sunday”, as both ‘Magic’ (A) and ‘Sunday’ (B) sound clear as crystal, with a frequency spectrum that’s both wide and colourful. With a strong focus on psychedelic sounds, ‘Magic’ is built around a breaky, half-time beat filled with slightly shuffled drums. A collage of warped textures, vocal snippets, synths and quirky bass stabs fill the remaining space with class, making it easy to imagine the cinematic soundscape working its on any bold dancefloor. ‘Sunday’, on the other side, is a more functional, 4-to-the-floor bass-heavy roller full of bright colours. Echoed vocal loops and rising pads create a particular vibe that would sound totally at home on a Sunday morning at CdV. Extended tracks for extended mornings, no doubt.

Nous'klaer Audio and Sound & Vision's RE:VIVE initiative have teamed up for the third and final LP in their film scoring trilogy. Capping off with a soundtrack made for a progressive, angular take on a color-soaked, geometric educational archival film. Combined with a soundtrack for a film that is a personal intensifier to the city of Rotterdam, which is the home of Nous'klaer Audio. The collaboration invites two musicians to compose for these archival films from the collection of Sound & Vision, the national media archive of the Netherlands. This final instalment features through and through Rotterdammer, Kems Kriol and the Amsterdam based Turkish composer, pianist and DJ Loradeniz. Kems Kriol accompanies the amateur documentary collage film "Rotterdam in de Jaren 90", a dark period of strife, economic and social crisis for the now booming metropolis, with the compassion and empathy of someone who experienced those years first-hand but with enough time removed to reflect with heart. Loradeniz angularly and precisely moves her way through the delicate film "Tegenlicht", a surprisingly colorful and fluid educational film about painting, a bold juxtaposition that propels the film into the 2020s. Extended info: Side A, Tegenlicht (English: back lit) is a 1969 education film by Ton Gramsbergen. The short meditative film, follows stained glass artist Leo Hofman through his entire workflow to create beautifully abstract stained glass window panes. Loradeniz?angularly and precisely moves her way through the delicate Tegenlicht creating a bold juxtaposition that propels the film into the 2020s. Employing processed vocal work, deep dry kicks, and jarring percussion-- reminiscent of scratching glass-- Loradeniz's haunting modernization suits the cinema and the club equally, a testament to the rising composer's fluid versatility and creative prowess as a musical pantomath. Side B, Rotterdam in de Jaren 90 directly contrasts the zoomed in artistry of Tegenlicht. The amateur documentary Super 8 footage captures Rotterdam in one of its most tumultuous times from police brutality, poverty, drugs, violence, racism and the city's ongoing architectural modernization. Kems Kriol, who lived in Rotterdam during this time period, brings a deeply emotional weight to the Ed Millecam amateur documentation, as an artist with the compassion and empathy of who experienced those years first-hand but with enough time removed to reflect with heart. Kems Kriol's influences from modern and avant garde composers, jazz, acid bass lines and field recording Kems Kriol made at different locations featured in the film equate to a musical collage wholly comparable to the city's diverse population. The prior installments in this series featured Nous'klaer Audio staples, Ranie Ribeiro, Mattheis, Thessa Torsing (upsamy) and Tammo Hesselink.

This four track EP features the LA band’s single’s Blame and the EP’s title track Bloodline,

Quickly finding fans in the likes of Elton John, Celeste, Paul Weller, Benji B, and Gilles Peterson, the band should soon find plenty more on a record that could soundtrack a David Lynch epic such is its drama and suspenseful, late-night orchestral ruminations. Capped by Lusk’s voice, a weapon that swoops through the octaves breathlessly, Gabriels have that rare ability to make you re-evaluate music, and what it can do, in a heartbeat.

Whilst Lusk provides the wow factor with that ridiculous larynx, Gabriels are very much a close-knit trio. Producer, keyboardist (and full-time video director) Ryan Hope hails from Sunderland but calls LA home. Fellow producer-composer and violinist Ari Balouzian, a man with endless musical projects on the go at any one time, gives Gabriels’ songs a real ‘feel’ to them.

Sultry, soulful mood music certainly isn’t the band’s modus operandi, with debut track If Love & Hate In A Different Time having originally identified Gabriels as a loose-limbed, soul-stirring funk and gospel-flecked odyssey. But this experimental EP should paint an altogether more rounded idea of where Gabriels are at… !

Toolroom provide the hotly anticipated return of renowned Glaswegian artist KC Lights, as he delivers yet another classic record in the making – 'Better Times', featuring the stunning voice of Merseyside-hailing Låpsley. A debut collaboration for the pair, as they drop a sweet cut of Disco infused House that will undoubtedly soundtrack the year. A label favourite in every sense of the word, KC Lights is most-known for his 2020 smash-hit 'Girl', a record you couldn't switch off from throughout that summer, followed up by his classy cut 'Cold Light' the following year with reputable vocalist and songwriter Leo Stannard, who also appeared on his summertime anthem 'Daydreamer'. If there's one thing KC Lights can do time and time again, it's writing infectiously catchy, timeless records that you'll hear almost anywhere you go, from underground clubs to radio stations and beyond. Featuring on the record is critically acclaimed vocalist and songwriter Låpsley, who rose to fame back in 2016 with her debut LP 'The Long Way Home' on the legendary XL Recordings. Of course, you can't forget DJ Koze's massive disco edit of 'Operator', which shot Låpsley through the stratosphere. With a string of huge hits and a voice to match, KC Lights and Låpsley come together on 'Better Times', offering three different mixes for this exclusive vinyl package.

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, 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

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

The Label famous for its outstanding organic and melodic music, is thrilled to announce the release of Jacob Groening's
debut album, „TIMEFADES,“. This remarkable album is set to release on his own imprint digitally and on vinyl preorder on November 24, 2023.

"TIMEFADES" is an introspective and immersive collection of eight tracks that weaves a narrative from start to finish. Each song contributes to a story that is both dancefloor-ready and equally at home in intimate listening environments. Jacob Groening's unique ability to craft music that resonates on multiple levels is showcased in this extraordinary album.

In a significant departure from his previous works, Groening has seamlessly integrated sounds from his childhood into
"TIMEFADES." The album features a captivating blend of 80s synthesizers, which evoke a sense of nostalgia, harmonizing effortlessly with his signature organic sounds. The result is a sonic tapestry that not only captures the essence of the past but also propels it into the future.

An exciting and personal addition to "TIMEFADES" is Jacob Groening's own voice. For the first time in his career as a
producer, he lends his vocals to the album, offering a deeper connection to the listener. This newfound layer of intimacy elevates the emotional resonance of the music, making "TIMEFADES" a profoundly personal and moving experience.

One of the standout features of the album is Groening's discovery of the electric guitar as a primary composition tool. The
electric guitar weaves its magic throughout "TIMEFADES," adding layers of melodic complexity that captivate the senses and set this album apart from the artist's previous work.

The first bunch of remixes for Kito Jempere's Green Monster. The album itself was a versatile journey thought all music styles and patterns you can imagine, remixes are keeping the same direction.

EP opens with a remix from multi-talented and prolific studio genius Ewan Pearson, the man behind hundreds of remixes, production and studio engineering duties for artists like Tracey Thorn, Pet Shop Boys, Depeche Mode, The Chemical Brothers and many many more. And Mr Pearson is taking Kabwato on a journey! Originally recorded as two and half minutes as some say mid-album filler, this boat (kabwato in chewa language) is going deep down the tropical river and through breezy morning rainforest valleys. A perfect trip for your midday staying home alone errands or for your early morning ray of light at the bar with a beautiful panorama.

Same track is getting treatment from the mighty Cable Toy! Unmistakable peak time euphoria manifest - going back to my roots-esque piano meets 90s cable tv dance show house party!

On the flip is the remix by The Dawless. The Dawless are Ramil' Goddeem from LAUD and Sergey Gol'd, producer and owner of GoldxFish Music studio. They recently released their debut album "Broken Aux" on System 108, got remixed by DMX Crew and became residents of LOUD BOYZ label. The project has simple ethics: computers not allowed, only real gear and vibes. The duo has created a true rage rave anthem for Kito Jempere now. Having already been played in a lot of DJ-sets blasting through packed warehouses, now it became available to everyone.

EP closing opus is by Kito's frequent collaborator - UK born and Japan based producer Max Essa. Every Kito's album was accompanied by Max's remixes and this time he's delivering pure beauty again. Creating some Golden-era "8 1/2 weeks" vibes, Max transforms the track into a post-summer voyage anthem.

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

Rescued from defunct formats, prised from dark cupboards and brought to light after two decades in cold storage... OKNOTOK will be issued on June 23rd through XL Recordings, coinciding (roughly) with the original 1997 release date(s) of Radiohead's landmark third album OK COMPUTER.

OKNOTOK features the original OK COMPUTER twelve track album, eight B-sides, and the Radiohead completist's dream: 'I Promise,' 'Lift,' and 'Man Of War.' The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK. All material on OKNOTOK is newly remastered from the original analogue tapes.

Here's the first vinyl record release by Alien Rave. We still can't explain the strange circumstances surrounding this record, which came to our attention in a mysterious and unexpected way. A coded message through Ableton Live led us to a strange place where we found the recordings. The instructions were very clear - all we had to was follow them You'll find the results on this interstellar '94 electro-break track. Alien Rave sets out to get inside your head, introducing evocative and epic mental moments that give way to energetic tunnels built on a solid rhythmic foundation carefully designed to withstand elegant ultrasonic bass frequencies. For electro-break fans, this record could be seen as a journey which originated in the German-inspired Florida scene before eventually finding its way back to Spain. It's funny how Florida, home to some of the most robotic and extraterrestrial electro-break music, is also one of the hot spots of the global UFO phenomenon. Coincidence? Maybe, but we're looking forward to the next contact: we know it's coming.