Cerca:low down

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Proper full-length outing from Naarm quartet and venerable live show Polito! Though prior associations with Butter Sessions have birthed EP's and compilation appearances, Collapse Phase gathers the most cohesive body of work from the group to date. Self-described as "a meeting of improvised contemporary dance and live improvised techno music, working together to create entrancing performance experiences", the project translates impressively to the long-player format. Holding no pretence with its title, opening cut 'Chuggalug' swirls around the stereo field building upon sustained synth warbles with low-key basslines and breaks propelling the track. As the album progresses from the chug into gridlocked, Mills-ian loops and fast, extra-terrestrial sound design (all swinging 909s + decay), we're also treated to contrasting downtempo acid cuts and dubwise, day-time festival vibes ('Fortune Teller'). 'Nine Lines' layers various patterns in a classy exercise of dancefloor tension building, with an undoubtedly in-the-moment feeling evidencing Polito's live show foundations. Across the board the group showcase their mastering of a kind of addition/subtraction push and pull, but the varying influences in sound design provide an extra layer of depth to the whole thing and cement the Polito brand. On both 'Inside The Sphere' and 'The Sphere Is Collapsing', the dreamier, more reflective edges of 90s IDM are given a nod and these two strike as up there with the best on the album. Head for 'Mercado Waltz' for a super interesting fusion of loopy techno and modular dubstep.

Polito is a collaboration between musicians Robert Downie and Finnian Langham, and dancers Arabella Frahn-Starkie and Hillary Goldsmith.

Josh Butler joins Kerri Chandler’s Kaoz Theory imprint with the ‘Piranha’ EP, featuring a collaboration with Josh Daniel and two further original compositions.

Northern England’s Josh Butler has been at the forefront of the contemporary house scene over the past decade, racking up releases for the likes of Defected, Rejected, Solid Grooves, Hot Creations, Crosstown Rebels, MÜSE and many more. Here though we see Josh returning to Kerri Chandler’s Kaoz Theory following 2023’s ‘Sunday Club’ with some fresh, dub house leaning material.

Opening the release is ‘Be There’, a collaboration with Josh Daniel, laid out across five and half minutes with dubbed out piano chords, crisp drums, a bouncy bass line and Daniel’s soulful vocal stylings.

A dub mix is offered up to follow, laying focus solely on the groove. On the flip side we have ‘Piranha’ up first, a hazy journey through dubbed out synth swells, airy vocal chants, skippy low-slung percussion and snaking sub bass tones.

‘Chess’ then rounds out the EP, laying down heavily swung minimalistic percussion, fluttering low end pulsations and ethereal atmospheric textures to create a subtly unfurling, cinematic dance floor groove.

DJ Feedback:

Junior Sanchez – Dope freshness!

Dennis Quin – Nice EP, feel the tracks

Lele Sacchi – All good deep rollers

Alexander Maier – Superb deepness in all

Ruff Stuff – Great EP! Love it!

Danny Howells – Loving this, all four tracks totally worth of support

Milos – Amazing EP, great tracks

Chris Brennan – Supremely smooth tunes, lovely lovely

Mr V – Straight fire

This latest instalment of ARTHUR BAKER Presents DANCE MASTERS finds the production/ song-writing/ remixing maestro taking the spotlight for a long overdue snapshot of his own classic 12” mixes during a crucial evolution of dance music, club
and pop culture.

“I’ve always felt like I was on a mission to make music from the time I heard Motown, Philly and Sly and the Family Stone. My mission started as a hobby and still feels like one now. You’ve got to keep on pushing and hustling. It can be a drag sometimes but
if you really love what you’re doing, it’s worth the work. I still really love what I do.”

Arthur Baker helped codify the remixer as artist. His genre-fluid approach to projects
has resulted in a joyous myriad of classics that spans many decades. This ’80’s focused DANCE MASTERS collection offers a welcome glimpse at Baker’s illustrious career and many long out-of-print 12” versions and previously unavailable mixes.

This 35-track, six LP expanded edition includes a wide array of selections from the likes of Robbie Nevil’s “C’est La Vie,” Fleetwood Mac’s “Big Love,” Neneh Cherry’s “Buffalo Stance”, Jeffrey Osborne “Soweto”, Freeez “I.O.U”, Rockers Revenge “Walking On Sunshine” and of course the juggernaut “Planet Rock” with Afrika Bambaataa & Soulsonic Force.

Complete with in-depth liner notes by Bill Coleman, track by track notes written by Arthur Baker himself, previously unseen session photos from Arthur’s personal archives and a signed insert.

All tracks remastered by Nick Robbins at Sound Mastering

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and our first to celebrate the ‘90s, NOW – Yearbook 1992; 79 tracks from a brilliant year in Pop! Available as a Special Edition CD housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork, a standard 4CD package, and a Limited edition 3-LP set pressed on green vinyl.

Will Hofbauer brings his unique, playful take on UK club music to Facta and K-LONE’s Wisdom Teeth imprint. Previously appearing on Rinse Recordings, Rhythm Section and his own label, Third Place, Will has already gained a cult reputation for producing tried-and-tested club weapons, with fans including Ben UFO, Moxie, Danielle and OK Williams. Arriving on Wisdom Teeth, he presents his most accomplished and complete work to date, spanning a variety of moods to suit a range of dancefloors. The EP opens with ‘Hiccups’ - a mischievous club heater that borrows from the gulliest ends of electro and UKG to forge a winking, gunfinger-inducing bassline banger. This one has been doing the rounds in select circles in recent months and has passed all checks and balances with flying colours. Next up, ‘Subtracting The Egg’ flips the script and strips things right back to to the bare essentials: a reduced beat and a warping sub-bassline - because what else is needed, really? On the flip, the title track provides the record’s most straight-up club moment: a 4x4 house smasher with a mammoth low-end that underpins a whirring cacophony of warping synths and dubbed-out drum fills. To close, ‘Crow’ drops the tempo back down to a low-slung, humid crawl.

"Drums from heaven, keys from Mars, a bass made from mother earth's soil and guitars from a guy who's time-traveling from German Kraut in the last 60ies into the next 60ies and who happens to gift us today with this funky, dirty, pulsating, delicious music that's everything which music is supposed to be: ALIVE! (Note to self: Always keep a copy of this record in your suitcase!)." (Malakoff Kowalski)

"Afrokraut" is a stylistic expression of Krautrock, primarily associated with Can, and their creative use of time and space in music. "A Guide To Afrokraut III" is David Nesselhauf´s third and last contribution to the dusty shrine of this long forgotten style.

Next to "Afrokraut" (2016) and "Afrokraut II: The Lowbrow Manifesto" (2018), this album completes a humble sonic Trypticon in honour of David Nesselhauf's musical heroes. Experimentation was key in the immersive process of producing this album, which encompasses elements of Funk, Afrobeat and Krautrock as well as otherworldly Drones, early Elektronische Musik and even field recordings.

Inspired by the unfinished manuscript 'History Deletes Itself' by the late science fiction author Joseph Sabiers, Nesselhauf decided to produce a b-movie soundtrack to the original plot, ignoring the fact that there will likely never be a movie to this music.

In the original script, a virus has infected history, the resulting changes of historical facts leading to an unpredictable present and future for mankind. Every attempt to solve the problem – including time travelling – only worsens the situation. But three planets at the end of the known universe seem to be unaffected by the phenomenon, they become a sanctuary known as 'Afrokraut III'. Three brothers arrive there to start new lives. They are introduced to The Guide, their mysterious advisor...

The striking parallels to today's uncertainties, a strong feeling of hope and the idea to never stop exploring (come what may) certainly have encouraged the making of this album, which sees a belated release due to the obstacles everyone faces right now.

David Nesselhauf lives in Hamburg/Germany and appears as a bass player/songwriter in bands like Hamburg Spinners, The Drawbars, Diazpora, and Angels Of Libra.

Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.

'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.

Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.

Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.

Overall, these are house tracks made right – a classy release fit for warming in crowds in style.

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

After a long hiatus, Rotate is back for its 8th release. "Inner Space EP" by the duo Abé & Lowris as Labello is a three-track 12-inch with a strong focus on psychedelic sounds, warped vocals, hypnotic synths and finely-tuned drum programming.

Like yin and yang, both tracks on the A-side of the EP display exquisitely opposed tones crafted for distinct dancefloor moments. The bright, funky and appropriately named 'Goodtimes' stands very different from the dark, cinematic and thrilling 'Invisible Red'. Still, ensembled, they serve as a statement on the raw potential of sonic hypnotization, where shuffling grooves, wacky melodies and cinematic atmospheres work together to set the dancer's minds into a seemingly perpetual state of flow. B-side's extended cut 'Pkaila' is one of the deepest arrangements here, reminiscent of the golden age of techno minimalism where dancefloors needed little more than a rolling groove, shuffling drums and impeccable sound design slapping from its sound systems.

Bandcamp buyers also get "FCT", an exclusive downloadable bonus 18-minute jam that further showcases Labello's explorational side, rounding off "Inner Space" in a delightfully varied manner.

Terry Farley & Wade Teo ‘Why We Dance’ on Rekids featuring Kameelah Waheed.

The jacking house track, out this October, is backed with alternate mixes and a remix from Kevin Swain (DOP).

Founder of Boy’s Own and Junior Boys Own and an active part of Defected sub-label Faith, Terry Farley is a bonafide house legend. Teaming up with XOYO and Music Box Radio resident Wade Teo, the duo recruit New York-based spoken word artist Kameelah Waheed for a party-starting house cut on Radio Slave’s Rekids.

Across the A-side, robust drums, rocking low end, and piano stabs combine to provide the perfect backdrop for Kameelah Waheed’s infectious vocal performance. On the flip, Farley and Teo deliver their ‘Lonely Dancer Remix’ to kick off the B-side, adding subtle percussions and floating pads for a grooving rework. Rounding out the release, Farley recruits Kevin Swain for the collaborative ‘Angels Take Control’ remix, with dubbed-out claps, menacing low-end combining for a heads-down closing track.

'A Winged Victory For The Sullen' is the first installment of the new collaboration between Stars Of The Lid member Adam Wiltzie and L.A. composer Dustin O'Halloran. The duo agreed to leave the comfort zone of their home studios and develop the recordings with the help of large acoustic spaces, hunting down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end.

Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began with one late night session in the famed Grunewald Church in Berlin on a 1950's imperial B?sendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last session on a handmade Fazioli piano in a private studio on the Northern cusp of Italy, before the final mixes took place in a 17th century villa near Ferrara with the assistance of Francesco Donadello. All songs were then processed completely analogue straight to magnetic tape.

Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to dangerous territory, realising that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic ingemination. In 'Requiem For The Static King Part One' ? created in memory of the untimely passing of Mark Linkous ? they have taken the age-old idea of a string quartet and then shot it out of a cannon to reveal exquisite new levels of sonic bliss.

Of the 13 minute track 'Symphony Path?tique', Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing'. Notable guest musicians include Icelandic cellist Hildur Gudnadottir, as well as Erased Tapes label comrade Peter Broderick on violin. A Winged Victory For The Sullen is not a side project ? it is the future of the late night record you have always dreamed of. A Major release for Forte, Non exportable.

Locklead arrives on LOCUS in style as he drops a quartet of cuts via his ‘Blue Monday’ EP.

An artist undeniably in a purple patch following releases via Dungeon Meat, Vatos Locos, Dark Side Of The Sun and his debut album ‘Square One’ on Up The Stuss, Utrecht’s Locklead continues to flourish as one of the Netherlands’ hottest emerging house talents. Showing no signs of slowing down, his next release provides another signal of intent as he heads to FUSE sister imprint LOCUS for the first time. Following multiple appearances for the label at their London showcases, he now unveils four diverse and expansive offerings showcasing his far-reaching sound across his ‘Blue Monday’ EP.


A track that’s been the subject of ID requests for months, title cut ‘Blue Monday’ kicks things off in style as infectious vocals and spiralling synths go to work above a wormhole of a bassline to provide a peak-time cut already proven to work dancefloors. ‘Join The Tribe’ leans on tight rolling grooves guided by crisp organic drums licks, rumbling low-ends and off-kilter samples, while ‘Orbiting’ is a spacey journey into the late night hours. To close, Locklead takes things deeper as he layers rich chords, swinging drums and hazy vocals across a classy house effort to wrap up proceedings.

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.

A selector, producer and label head at the top of his game, Enzo Siragusa continues to prove exactly why he’s held in such high regard as a staple of the underground music scene. While developments have seen the FUSE boss adjust his approach, recent months have combined a wealth of studio time with the unveiling of new projects – most recently announcing the launch of his new genre-bending all-night-long event series, E:Dimension. Yet, there’s something about a release from Siragusa on home turf that stands out amongst the pack, with productions like ‘Sagamore’, ‘Desire’, ‘Flexin’ and the ‘Kilimanjaro’ cuts instantly recognisable after just a few seconds, and the same looks set to happen as he makes his highly-anticipated return with his first solo material on the label for over two years. Unveiling one of his most heavily requested tracks to date alongside further peak-time business on the flip, April finally welcomes the arrival of the two-track ‘Nothing Matters’.

A track that’s been making waves for months, ‘ICV (Double Flake Mix)’ brings the sub-shaking, cavernous reese bassline now captured by many across the globe as Siragusa launches into his signature blend of heads-down, hands-up sonics, while the vinyl-only dub delves into afterparty territories to offer up an exclusive version for wax owners. On the flip, title cut ‘Nothing Matters’ graces the B-Side and keeps things moving as meandering melodies ride rumbling low-ends, swinging drums and chunky grooves to shape up proceedings in emphatic fashion. It’s safe to say Siragusa’s back, and he’s back like he never left.1

When it comes to releasing groove-driven productions suited for the warm-up all the way through to the afters, there aren’t too many better than Michael James. A studio natural with innate talent earning him a reputation as a must-visit producer, the Manchester native’s growing discography has already welcomed stand-out material via Burnski’s Constant Sound and Constant Black alongside the likes of S.A.S.H., e1ven and INFUSE. Returning to FUSE for the first time since his huge collaborative ‘Weird Things’ EP in 2020 alongside imprint boss Enzo Siragusa, early May welcomes a big solo debut on the label as he drops his dynamic four-track EP, ‘Another Dimension’.

Lead cut ‘Nobody Does’ sees James skilfully fuse funk-fuelled bass licks with sharp drums and wonky synths, while title track ‘Another Dimension’ offers up weighty low-ends beneath skippy percussion and sweeping melodies for a powerful peak time anthem. ‘Downstream’ arrives full of swing as delicate pads float amongst the mix, before closing with the driving sonics and spacey electronics of digital exclusive ‘Underwater’.

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

Another seemingly obvious addition to the chosen Planet Euphorique family is underground icon Angel D'lite, presenting “303 Dalmations” as the label’s 18th release. The 5 tracker screams ruff ‘n’ ready rave with a delicate touch, embodying playfully rude dancefloor attitude politely requesting you to check your ego at the door. The South Londoner Mz D’lite carries the torch for the ambitious wave of Nu skool sounds, inspired throwbacks and masterfully crafted break work that has you stomping the house down.. Boots. Bold, brave & in your face; not for the faint hearted, a true sonic reminder to not take yourself too seriously.

Setting the tone is the title track, a tongue in cheek laugh in your face. With no messing around a brazen breakbeat assault leads the way for bleeped out bliss and building sub bass; cheekily tricking you into a 4/4 moment. The climactic chaos continues through Just Trippin, offensively tense stabs; building — ferociously, borderline losing control with the UKG hybrid ventures elevated by filtered chops and screws and a late blooming 303 workout. Tempos? High as hell.

Ell Murphy lends her passionate vocal essence to 7am on the A side closer. Feel the rush; transporting you to a moment in the dance which feels nostalgic and yet still to come.

Emo-jungle, cyber centred and spine chilling; Liquid Skies feels like a cold london morning after the rave, introspective yet unable to stay still, “in and out of control”. The record ends on a comparatively weightless low-key progressive builder Relaxcersizer. Holding the same sentimental harmonic bone engrossing sensation that trickles through the EP; with a little more patience, a moment to absorb the kaleidoscope of frantically exciting musical ideas laced throughout. This record is an ode to the dancers..Need I say more? You’ve read enough, now listen.

Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude.

I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.) On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem the “secret ingredient” is surprise. Perhaps the same is

true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.”

It’s as perfect a pop song as you’ll ever hear sweet, bright, flat-out gorgeous and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.

Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.

I’ve been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline,” suddenly I’m shout1singing along with it at a show in Detroit twenty years ago; listening to Overflows,” I’m transported back to whisper-singing a slowed-down version of it to my young son, that year it was his most-requested lullaby.

Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together beauty, possibility, surprise during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now. - Maggie Smith

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.

Reissue of Elizio De Buzios's "Tamanquiro". Remastered and pressed on 45 RPM!

Sitting a good 90-minute drive away from Rio de Janeiro’s crowded beaches and packed tourist hot-spots, Campo Grande is not a neighbourhood that attracts travellers from around the World. Traditionally it is home to the city’s lower middle-class, whose aspirations of moving up the social ladder were played out in a suburb that has always been solidly working-class.

Campo Grande is home to Elizio De Buzios, a Brazilian musician who started playing music in the late 1970s and early 1980s. De Buzios began as a drummer, before learning to play guitar and starting to compose and sing his own music. When he turned 18, De Buzios joined a local band formed by some of his friends and other like-minded local musicians: Sol da Terra. The band mostly played samba in neighbourhood bars and small venues around Camp Grande, but De Buzios was interested in more than just samba. While he naturally admired great samba composers such as Cartola and Beth Carvalho, his musical pass went far beyond Brazil’s national music. He also loved MPB and bossa-nova and at home he listed to Joäo Bosco, Milton Nascimento, Luis Melodia, Tom Jobim, and many bossa-nova singers.

In 1980 De Buzios was noticed by a local representative of international major label Polygram, who gave him the opportunity to record two songs. He was excited, so started searching for inspiration for the songs he would eventually lay down. He found that inspiration close to home while passing a neighbourhood shop which made and sold clogs. After noticing a display of then fashionable Portuguese clogs outside the store, De Buzios popped inside to talk to the owner. It turned out that he was a tamanqueiro – as clog-makers are traditionally called in his native Portugal – and was as passionate about music as he was about the footwear he made. Thus inspired, De Buzios returned home to work more on the lyrics and music.

The next day, he headed into the studio to record the song, with Vale Ribeiro, who later went on to produce tracks for Marcos Valle, behind the desk. With Ribeiro’s assistance, De Buzios managed to record two songs in one day: ‘Tamanqueiro’ and ‘Sou Um Louco’, a ballad with English lyrics blended into the mostly Portuguese text. From the start, it was clear that ‘Tamanqueiro’ would be the single’s A-side. Incredibly catchy and funky, with some subtle disco elements, the song remained distinctively Brazilian thanks to the use of the cuíca. Listening back all these years on, De Buzios’ lyrics seem almost spontaneous, carry the track forward, and make it almost impossible not to sing along. Its infectiousness and funkiness made it an instant hit with the first few people to hear it.

When it was released, responses to the song were enthusiastic, even if it never became the Brazil-wide smash it should have been. It resonated well in the local clubs and on the radio, but unfortunately the marketing was handled by an inexperienced Polygram employee who failed to adequately promote the track. As a result, the record sank without trace and De Buzios’ dreams of stardom evaporated. Having just started a family, he realized he could not live off the uncertainty of being a musician. Instead, he got a job at city hall as a civil servant, a role he continued until his retirement a few years ago. ‘Tamanqueiro’ and ‘Sou Um Louco’ remain the only two songs he ever recorded.

In the early 2000s, with the rise of diggers’ culture, ‘Tamanqueiro’ slowly surfaced again. It became a sought after, hard to find seven-inch single, finding its way onto the airwaves once more and into the ears of a new generation of listeners. Some started appreciating the song so much that it was referred to as the “best-Jorge-Ben-song-Jorge-Ben-never-recorded”. And they are right: ‘Tamanqueiro’ does have that Jorge Ben-straight-forwardness. It’s a completely honest song that’s almost impossible not to fall in love with. Thanks to this remastered reissue on Rush Hour, De Buzios may now get the props his sole record so richly deserves.

Now for the good news: De Buzios is still singing in local bars and clubs in and around Campo Grande. He is surprised, but also incredibly proud, that the record he had almost forgotten about is appreciated so much by a group of music lovers he didn’t even know existed. But above all, he is happy that more than 40 years after the recording session, the record lives on – not only on this re-release, but also in his weekend sets in the bars of Campo Grande.

Kerri Chandler returns to his own Kaoz Theory label with ‘Prayer’, featuring the vocals of F L Brown, and in true Chandler fashion comprised of a variety of mixes on the single
Over the past twenty releases Kaoz Theory has showcased material from the likes of Ben Rau, Satoshi Tomiie, DJ Sneak, DJ W!ld, Art Department and DJ Deep as well as of course material from the label-boss himself, Kerri Chandler.

Here the latter deliver his latest single, entitled ‘Prayer’ and as the name would suggest channelling gospel house influence in varying forms.

The ‘Media Mix’ leads the way over choppy bass stabs, cinematic piano lines and shuffled 909 drums. Followed by the instrumental for those who like to get the heads down, and just groove.

The ‘623 Again Vocal Mix’ on the flip, shifts things into Dub Techno realms courtesy of a bumpy, driving rhythm, unfaltering stabs and robust low-end tones.

To wrap things up the ‘Feel Mix’ follows next, stripping things back to crunchy drums, airy chords and a snaking bass groove.

An artist at the heart of Berlin’s rich scene, DJ and producer Sota looks set to continue his sharp upwards trajectory as a name to know. Welcoming four intelligent, expansive cuts combining slinking low-end grooves, sci-fi electronics, and sweeping interludes, the Dutchman’s ‘Pelican Club’ EP showcases his take on house music for the early morning hours as he touches down on Up The Stuss for the label’s sixth release.

Amphia welcomes Ferro, making his debut with a
four-tracker EP titled “The Unforced”.
“I Said” starts off with a mysterious vocal sample
complemented by a gliding bass line and abstract
percussion that drives the audience to create their
own narrative. A change of direction and a deeper
exploration of a darker dimension are brought on by
“Post Apocalyptic”, characterized by a slightly more
mechanical, nuanced rhythm. “Unforced” with its laidback mood and stripped down groove keeps your
attention focused, the percussion arrangement
working in unison with the glitched textures to create
a distinctive character. Concluding on a high note,
“The Contrary” keeps a steady flow through its lowend bassline, enigmatic synth line and vocal cuts.

Disco King Dr Packer steps up to the plate for M2MR, this time utilising his precise production mastery for one hell of a groovy soulful disco jam 'Get Some Soul' complete with a pumping piano house remix from Perth duo, Cup & String.

Squelching bass, scintillating piano and organ ecstasy and choice vocal samples combine for this uplifting cut. On the flip, Cup & String take it late night, club-ready, adding a slice of Gil to the mix, dialling the lights down low and focusing the remix around those killer piano stabs and bumping beat.

Unic are back with their biggest release to date, as they dive deep for a remarkable sonic journey with Bucharest talent Guy From Downstairs. Constituting his debut vinyl LP, ‘Oceanic’ is a deeply immersive voyage. One that full showcases the effortless grace and skill of one of Romania’s finest producers. 6 captivating tracks await, fuelled with analog sensibilities and guided by a musical mind for which groove is the ultimate aphrodisiac.

Following on from the recent and well received half-speed masters of
‘Amplified Heart’ and ‘Walking Wounded’, Buzzin’ Fly are proud to release EBTG’s 1999 album ‘Temperamental’. The album is a follow on from the global success of Walking Wounded in 1996 and features a myriad of rhythmic pop styles, including deep house grooves, fierce drum & bass and hip-hop infused funk. It contains the singles Five Fathoms, Blame and the title track Temperamental. The original vinyl was released on a limited edition ‘DJ friendly’ vinyl which is now a collectable item. The artwork for this new edition has been re-created
from the original source material to bring it in line with the original CD version. Like the previous two releases, it has been Mastered and Cut at half-speed by Miles Showell at London’s Abbey Road Studios.

Upsurge is the 5th LP on Ilian Tape and the musical journey of a sensitive soul.

Over the last 8 years Stenny has become one of the core artists on the label, continuously evolving his own style and exploring new territories. His debut album flows through ups and downs and reflects the highs and lows we all go through.

After starting out with EP's showcasing tracks by various artists, Invite's Choice is back with a 3 track EP by Drafted.

The EP is opened by Detached with it's dominating, repeating tom/percussive low-end sound. The frequential spectrum is filled up by other percussive elements and reverb-filled effects, which give the track a spacious feel. Oxidian starts out in your face with it's droning and repetitive synth. The track evolves into an abstract apogee with intense synthesis before it breaks down again, allowing for a smooth mix to be made. Sphere closes down this 3-track EP on the B-side and does so with lot's of fast changing hi-hat and ride patterns and one sharp sounding synthesizer, which makes it a perfect B-side closing track. Once again a great showcase of sustainable modern day electronic music by Invite's Choice!

For the latest instalment in the Apollonia story we look to Argentina and the talented producer Federico Molinari. Having been based in Germany for the last couple of decades, Federico has refined his sound, developing a strong signature through his DJ sets and his studio productions, most of which he has released via his label OSLO. Federico's ability to craft effortless grooves and timeless rhythms is evident here on this killer new three-tracker. Side A is the eight-minute long roller 'Congo Toys'. The focus here is on a crisp 4x4 beat, which keeps things simple - under this lies a sturdy bassline. All the while, the low end is accompanied by a series of bleeps, which could almost be the chatter between two archaic computers, modulated and weaving in and out of the beats and bass. On the flip, we have two more dance floor-ready joints. Like ' Congo Toys, 'Tres Cuartos' is focused around a simple foundation, with layers of unusual effects - an overriding sense of playfulness comes through in Molinari's production, perfect for the boogie down crew. Last up, 'Joyfex' takes us further into leftfield, hypnotic, hazy atmospherics draw us into their web and we're tangled up in a mesh of vibrating whirrs and echoing, distorted voices. Sublime business from an Apollonia favorite