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Driven by a heavy bassline & delightful melodies, Dangerous Situation by upcoming singer Zuri Nativa & producer Fontoyard needs to be heard - whether it's on a soundsystem or at home.

Over the past few years, Giulio Erasmus has been carving out his very own musical idiom, referencing the fragmentative cause-and-effect possibilities of soundsystem culture. Accompanied for the occasion by The End Of The Worm, the recording of this concert highlights the futurist intentions of early 80s underground music in the UK and beyond. Although the expression is clear, there's continuous room for exploration and innovation. With heavy delay effects often cut short, metallic percussion, murky vocals, deconstructed electronics, and miniaturist melodies with snippets of the grandiose and the absurdly urban, all tracks here are patient, explorative, and freeform. Through curves of darkness and curves of light, this is a choreography of ideas, a passing infatuation that runs deep.

Giulio Erasmus was a member of D.U.D.S, Handle, and released his first solo outing, Re-Adjustment, in 2021. His second album, called Second Attempt, was released to acclaim in 2024 and hailed as an extremely modern take on the possibilities of underground pop through the extended ripples of soundsystem culture. Being the son of musical royalty, his father is legendary Factory Records co-founder Alan Erasmus, is almost too easy a reference. Giulio taps into 80s counterculture sonic experiment as a universal musical language that allows for futurism and fragmentation, reversing narrative logic and the transmission of musical ideas.

This recording of the amazing live performance by Giulio Erasmus & The End Of The Worm beautifully captures the investigative and unforgiving nature of all the instrumentalists that were on stage on that warm night last August in Eupen, Belgium. Through spirals of ideas, fragments, and experiment, they built a vapourous yet focused suggestion of openness and endless possibilities.

This live incident involved:
Fiona Brunet, Paul Cossé, Romain Simon, Lola Lextrait, Guyilo Erasmus

Recorded and mixed by Etienne Foyer

Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs.The group was born out of Bristol's Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, chester giles (the title Sleep Heavy comes from a giles poem) and Killing Sound (Childs with Kidel and Vessel).

The Dub Pistols reissue journey continues and some could argue we’ve saved the best for last. Originally released on CD in 2012, the tour-de-force of ‘Worshipping The Dollar’ is finally receiving the vinyl treatment it deserves.

Including festival big hitters such as Mucky Weekend, Alive and Bad Card, this outstanding LP is being pressed on stunning blue and white splatter vinyl and it sounds better than ever. With its hard-hitting beats, infectious melodies, and socially conscious lyrics, 'Worshipping The Dollar' still acts as a commentary on the current state of our world and the detrimental effects of greed. The album features collaborations with legendary artists such as Rodney P, Red Star Lion, and Lindy Layton, adding an extra layer of depth to an already dynamic sound.

From their early beginnings as a soundsystem project, Dub Pistols have grown into a party-rocking live band that ignites festivals and venues. Main man Barry Ashworth has even gone a step further by developing his own hugely successful ‘Mucky Weekender’ festival named after Worshipping The Dollar’s lead single. Mucky by name, Mucky by nature - the festival certainly isn’t for the light hearted!

‘Worshipping The Dollar’ serves as a testament to Dub Pistols’ enduring spirit and tenacity and you can now pre order the album on how it was originally meant to be listened – on glorious vinyl.

a Alive feat. Red Star Lion 04:42
b West End Story feat. Akala 03:42
c Mucky Weekend feat. Rodders 05:08
d Bang Bang feat. Ashley Slater [03:33]
[e] Rubadub feat. Lindy & Dan Bushall [05:00]
[f] New Skank feat. T.K. [04:18]
[g] Rocksteady feat. Rodney P & LIndy [04:20]
[h] Countermeasure feat. T.K. [04:40]
[i] Gunshot feat. Darrison & Rodders [05:42]
[j] Bad Card feat. Dan Boskills [05:22]
[04:16]

Blending late 2000's minimalism and harmonies with razor-sharp sound design, Nous'klaer Audio is excited to present Erik Luebs. The American via Japan techno producer joins the label with a four-track solo EP dropping in 2025. While Erik has released music on other labels sparingly, his self-released catalog is vast, versatile, and deeply immersive - a favorite on repeat at Nous'klaer HQ. We're proud to present his first offering with us. Glimpse of Reality is a deep dive into syncopated rhythms and intricate sound design. The EP is rich with atmospheric sounds that are meticulously crafted yet hit with real impact. Each track is layered with delicate textures and packed with detail, rewarding close listening as new elements reveal themselves with each play - especially on big soundsystems.

The Weeks Island project began in 2018 when, itching for something during a break from his gig playing guitar for the Grammy-winning Cajun group Lost Bayou Ramblers, Jonny Campos ventured to his bandmate's house and recorded a series of deep, amoebic, ambient pedal steel passages across two afternoons. It wasn't all heavy, though: he paid that bandmate, Kirkland Middleton, in Cane's chicken strips. The tracks on Droste are named for bodies of water that no longer exist, their names wiped from maps thanks to the disintegrating shorelines of Southern Louisiana. That feeling of impermanence hangs over this record - the tracks don't so much begin and end as slip in and out of your consciousness. It can be a serene passive listen or a deep one that marinates long after the runout. Droste originally appeared on Nouveau Electric Records, run by another Rambler, Louis Michot, in 2020, digitally and on cassette. DFA picked it up via an connection from LCD Soundsystem's Korey Richey, and began a years-long process to cut the record to vinyl, a task made difficult by the sharp pedal steel and waves of harmonic distortion that color the music. After more than a few tries and the addition of three brand new tracks, Bob Weston at Chicago Mastering Service nailed it, and it was pressed beautifully at Furnace Record Pressing in Alexandria, VA.

Das Weeks Island-Projekt begann 2018, als Jonny Campos während einer Tour-Pause als Gitarrenspieler für die Grammy-prämierte Cajun-Gruppe Lost Bayou Ramblers Lust auf etwas anderes hatte. Im Haus seines Bandkollegen nahm an zwei Nachmittagen eine Reihe tiefer, amöbenhafter, ambienter Pedal-Steel-Passagen auf. Die Tracks auf "Droste" sind nach Gewässern benannt, die es nicht mehr gibt und deren Namen dank der zerfallenden Küstenlinien Südlouisianas von den Karten gelöscht wurden. Dieses Gefühl der Vergänglichkeit schwebt über dieser Platte - die Tracks beginnen und enden nicht wirklich, es ist eher ein hinein- und wieder hinausgleiten. Es kann ein ruhiges, passives Zuhören sein oder ein tiefgehendes, das noch lange nach dem Ausklang nachhallt. "Droste" erschien ursprünglich 2020 bei Nouveau Electric Records, digital und auf Kassette. Über eine Verbindung von Korey Richey von LCD Soundsystem gelangte DFA an das Album und begann einen jahrelangen Prozess, um es als gut klingende Vinylplatte rauszubringen, eine Aufgabe, die durch die scharfe Pedal-Steel-Gitarre und die Wellen harmonischer Verzerrung, die die Musik färben, erschwert wurde. Nach mehreren Versuchen und der Hinzufügung von drei brandneuen Titeln gelang es Bob Weston von Chicago Mastering Service, das Ergebnis ist wundervoll in Klang und Schönheit.

Das legendäre Debütalbum 'Kingston Journey' (2019) eines der besten Soundsystems der Schweiz und Europas, Little Lion Sound, ist eine Odyssee, die den Hörer auf eine faszinierende Reise durch das Herz und die Seele der jamaikanischen Musik mitnimmt. Jeder Titel ist eine Hommage an das reiche Erbe von Reggae und Dancehall und zeigt die beispiellose Fähigkeit dieser Formation, diese Genres mit Finesse zu vermischen und zu kuratieren. Feat. Capleton, Junior Dread, Brother Culture, Micah Shemaiah, u.a.

A killer fusion of bass, poetry and social consciousness from the King Midas Sound vocalist.

Roger Robinson is one of the most versatile voices in the dub poetry scene today, seamlessly blending the power of the written word with the raw energy of the soundsystem.

Teaming up once again with Dub wizard Disrupt to conclude an album trilogy that began with “Dis Side Ah Town” and “Dog Heart City“, Robinson pulls a wide range of riddims straight from the Jahtari vaults to create “Heavy Vibes“, a killer fusion of bass, poetry, and social consciousness.

With a voice oscillating between soulful falsetto and deep poetry thunder Robinson’s verses hit as hard as the bass, challenging the listener to confront uncomfortable truths, while Disrupt’s richly textured, dub-heavy production ensures the music moves both body and mind. You’ll find yourself dancing, but more importantly, you’ll find yourself thinking.

Coming with stunning cover art by Kiki Hitomi and featuring deadly riddims by Tapes, Naram, Jura Soundsystem, Maffi and Bo Marley, “Heavy Vibes” balances the weight of oppression with a glimmer of hope – the belief that change is possible, that the beat goes on, and that through solidarity and art, new futures can be forged.

Originally made back in 2002, this tune has never had a well deserved single release, so here it is remastered and backed with a version previously unreleased on vinyl! U Brown tells a story of his involvement in the soundsystem scene since the late 60’s, so come take a ride on this heavy musical excursion...

Produced by Jah Warrior, mixed by Dougie Wardrop at Conscious Sounds Studio, mastered by Sam John at Precise Mastering.

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

Disrupt Records presents DJ Chromz - Love & Unity EP, featuring DJ Stretch & Double O!

Following the blueprint established in the first two releases by again providing the platform for the debut EP of one of the hottest new producers around, DJ Chromz!

DJ Chromz brings us four tracks of sublime 94 influenced jungle that take you on a nostalgic journey via the dancefloor to the scene's golden era whilst keeping the sound fresh and dynamic.

Featuring a colab with AKO Beatz General DJ Stretch, plus a remix from Rupture's very own Double-O!

Lush pads, crisp drums, dubbed out sounds that reflect a love of soundsystem influences, analogue sampling and drum programming, big vocals and slamming amens all wrapped up across 4 huge dancefloor tracks.

Rotterdam based Bright Message Records kicks off their label with this beautiful 12", produced & mixed by Slimmah Sound. It features French singer Prince Chamba on vocals, Ital Horns from the UK on horns, and Slimmah Sound himself on melodica, with a dub cut included on both sides.

Sounds wicked on a soundsystem!

On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality.

Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story.

In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration.

In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.

‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models.

Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk.

But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world.

Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.

Young-Girl Forever' ist das neue, schillernde Elektropop-Album der in Wien lebenden Künstlerin Sofie Royer. Es folgt auf ihr Debütalbum 'Cult Survivor' von 2020 und 'Harlequin' von 2022.

Das Album zeichnet ein kühnes Porträt davon, wie es ist, heute eine Künstlerin zu sein - inmitten der Fallen des Kapitalismus, der existenziellen Unsicherheit und des ständigen Gefühls, mit Gleichaltrigen nicht im gleichen Takt zu sein.

Royer entlehnt den Begriff 'Young-Girl' aus den Preliminary Materials on the Theory of a Young Girl, die ursprünglich in der französischen anarchistischen Zeitschrift Tiqqun veröffentlicht wurden. Darin wird das Young-Girl als Symbol für den Konsumismus der Moderne dargestellt.

'Young-Girl Forever' schwankt zwischen Optimismus und Verzweiflung - es feiert das junge Mädchen und tadelt gleichzeitig die Kultur, die es hervorgebracht hat, und drückt so den Wunsch nach wahrer Befreiung aus.

Sofie Royer ist bereits mit Künstlern wie LCD Soundsystem, Lana Del Rey und Air aufgetreten.

- Für Fans von Weyes Blood, Lewis OfMan, Okay Kaya, Caroline Polachek, The Weather Station, Charlotte Gainsbourg, Jockstrap.

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

More transmissions from the exciting new wave of UK Soundsystem Techno .... DJ Gonz with his debut. It smacks. TIP!

Repress!

This year, get ready for KONK! with the ultimate collection The Magic Force Of Konk 1981-1988. This white hot Limited Edition 3xLP set is a lovingly composed Deluxe retrospective, showcasing the Definitive Sounds Of A New York Jazz Punk Afro Funk Disco Machine.
The Magic Force Of Konk 1981-1988 is a testament to the bands artistic staying power, the music sounding as fresh now as it did then, from the crossover funk grooves of the ‘Planet Rock’ inspired ‘Konk Party’, to the innovative punk funk synth bass of club hit ‘Your Life’, the bands influence indisputably lives on in this specially created deluxe collection. This beautifully designed package is a feast for the senses, looking as good as it sounds and sure to please fans of Liquid Liquid, ESG, Pigbag, James Chance, Soul Sonic Force, LCD Soundsystem, to name but a few, or simply those intrigued by those tales of wild nightlife that have become synonymous with the vitality of 1980’s downtown New York City.

YUKU 5x12" sales pack including:
*YUKU025 Flana full colour sleeve / 180 grams*
*YUKU033 Sinking printed sleeve / 180 grams*
*YUKU035 Sky Echo blue marbled vinyl / printed sleeve / 180 grams*
*YUKURMX001 Contexts 01 blue vinyl / 180 grams*

“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.

The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.

"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.

"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.

Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.

Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.

The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.

Die Musikzeitschriften "Audio" und "Stereo Play" betitelten Lenny Mac Dowell als "Rockflötist Nummer eins in Deutschland".
Lenny Mac Dowell hatte unzählige Tourneen mit Musikern wie Manni von Bohr, Horst Stachelhaus (Birth Control), Peter Oehler, Mike Herting, Bodo Schopf (Michael Schenker Group) oder Zeus B. Held (Guru Guru), Clemens Winterhalter, Alex Grünwald und immer wieder Großproduktionen mit Musikern wie Pete York (Spencer Davis Group) und Wolfgang Schmid (Passport).
Eine Ära des musikalischen Experimentierens setzte sich unter eigener Produktion fort. Nach "Flying Torso" folgt "Balance Of Power", das mehr in die esoterischen Gefilde geht - feinste Meditationsmusik mit Ambient-Elementen. Auch das Album "The Farthest Shore" spiegelt die meditativen und esoterischen Klänge wider. 1987 veröffentlichte Lenny Mac Dowell in einem Gemeinschaftsprojekt mit Christoph Spendel "Autumn Breath" oder "Landscapes" (2015) und in den 90er Jahren bis heute "The Lost Paradise", "Echnatons Return", "Launch Control", "Get Ready", "Retrospective", "Lenny Goes India", "Look Of Love" und "Raja Yoga" Produktionen unter eigener Flagge.
"Vinyl Experience" eignet sich auch hervorragend als Referenz oder zum Testen Ihres Soundsystems, von der Plattenspieleranlage bis zu den Lautsprechern.

IPPON is a rich music, with varied influences, which evokes the electro rock of Soulwax or LCD Soundsystem as well as dark disco.

Effective bass lines, cosmic synthesizers, saturated drums and reverberated vocals: the duo navigates between electro, languorous and sensual dark disco or even progressive pop rock

Bassline veteran and all-round soundsystem sorcerer Marcel Deptford lands on Sneaker Social Club with two ruff-n'-tuff rave-n'-b re-flips that run as a prelude to big things to come.

This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.

If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.

'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.

Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.

Pearson Sound returns to his Hessle Audio label with Which Way Is Up, a 4 track EP showcasing a range of textures and tempos with soundsystem pressure as the anchor. The 808-laced 'Hornet' kicks things off with a sound palette inspired as much by '80s Miami as '10s London. 'Twister' dials up the energy with a jagged lead and scattered breakbeats pulling in opposing directions, while the steppers pulse of 'Slingshot' evokes formative experiences at Subdub in Leeds. The EP is brought to a close with the blissed out title track 'Which Way Is Up', whose arpeggios dance around each other until they fizzle to breaking point. Support from Mala, Mary Anne Hobbs, Joy Orbison and more.

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

The Concealed Club Manifesto project pays homage to the mid 2000s underground UK club music scene, an era of music which acts as well of inspiration and creativity for the Nouveau Monica, and has no doubt helped shaped his sound. For the French producer, the UK club scene holds a special allure and mystique, especially since he observed this phenomenon from afar, and was idealized as one of the most “pivotal” moments in underground club culture, making it seem intangible, hence concealed. Nouveau Monica’s sound palette is deeply rooted in the UK scene, which he combines with his own personal musical background. This mid 2000s UK club sound is what the producer defines as his “Golden Era” and the genres created during that time are the building blocks of the Concealed Club Manifesto EP.

“See the Light” closes the EP as a triptyque. First with the OG version, cut out to be the straightforward, grimy, clean, and uncluttered bass track the producer always seeks for when going for the uncompromisingly strong raw material.

The second version conducted by Nouveau Monica as an alternate 4/4 version of the same title, harmonizes the repetitive chopped vocals with a technically syncopated drum loop designed for a new mental perspective, an after-hours sensation that blurs the line between euphoria and melancholy.

The last iteration of “See The Light” comes from none other than Hodge himself. A club tailored cut with a heavy groove, pattered with percussive elements, followed by sun drenched melody and sweltering pads that unleash into a a bellowing bass track, perfectly suited for peak sunset hours at a day rave an unforgiving Soundsystem.

Zenwerk is an eclectic tech trancethusiast from Belarus, though based in Warsaw, Poland, where he has already established himself as a leading artist and party promoter.

Ne Quid Nimis:
Ne Quid Nimis is Latin for "nothing in excess" – the track is a perfectly balanced subaquatic blend of peaceful yet progressive trance and muffled bloopy sonics. Inspired by the mountains hikes, this tribal trip into the rainforest creates a drifting atmosphere of a celestial and dynamic ride meant to pass a healing power of nature alongside joyful turbulence and inspiration. Ethereal vibrations & deep sound textures create a dreamy universe of wonder and bright hopes for the future.

A2 ‘Dew Kissed Silk’ is a 4x4 walk in trance delirium across predator footprints which becomes satisfactory – silk is being kissed by dew, though not soaked with. This contemporary vanguard trance/breakbeat hybrid creates a perfect mental equilibrium.

Rising Bristol star JOELY brings 2 hot B side tracks which show how hot a talent he is at such a young age. Hive Mind creates a playful grit which will get a dance floor moving in the early hours of a set, providing a steady rhythm which never wavers. Jungle Walk takes us down a darker, ethereal path which will make any soundsystem wobble with the thick wonky textures that JOELY expertly weaves in. Mind this gap.

2024 Reissue

DE-TÜ make their long awaited return to Infernal Sounds. Having previously released on IFS008, IFSXXX002 and also featuring on IFS018 alongside DRPTNDRP, this double header may be their highest calibre of dub-influenced 140 to grace the label. 'Roadblock' kicks off proceedings in the best way possible, hitting you deep in the belly with monumental amounts of weight on the drop, whilst layering a reverberating vocal lead and a daunting backdrop to bring you deeper inwards. The flip however, 'St. Paul's (City Road Dub)' takes things in a slightly different direction. Although it still provides that trademark DE-TÜ sound, it's certainly orientated more around the soundsystem, providing a perfect flex within the dubwise sound. It's the perfect example of progression as all the elements fold and merge, creating a track that will captivate you from start, to finish.

The release has already received heavy support from the likes of J:Kenzo, Truth, Leftlow, Kursk (Innamind Recordings) and a few other reputable DJs.

2024 Reissue

Deep and spiritual 80s Revival style tune from the rising star out of Canada, Shayne Amani. For the fans of Chronixx, Protoje, and all Soundsystem music!

If you have put your ear to the ground, you might have heard it coming...

Hailing from Rotterdam, DJ Easy B is one of the co-founders of the subversive renegade collectives ZMK Soundsystem and Move Around Sound. As a producer, Easy B's sonic palette is a raw and vibrant blend, drawing from '90s West Coast Electro, early Rotterdam Gabber and underground bass. Influenced by the infamous Dutch Acid Freeparty scene and the DIY energy of the UK Breakbeat/Hardcore Soundsystem culture.

This EP is Easy's first solo project, and there's more to come.

Das neue Album der französischen Reggae-Legende Big Red, eine Hälfte des Duos Raggasonic, ist ein Trip in die Welt der Soundsysteme und des modernen Dub, ein gekonntes Navigieren zwischen Roots-Reggae und heutiger Bassmusik. Begleitet wird er von der jungen Generation französischer Dub/Reggae-Produzenten wie OnDubGround (ODG), Little Lion Sound, Radikal Vibration, Bisou Dub, Irie Ites und DJ Absurd, die den Tracks ihre eigene Note verleihen. Mit seinem unnachahmlichen Flow befasst sich Big Red mit sozial engagierten Themen wie institutionellen Rassismus, Polizeigewalt und die Exzesse unserer Gesellschaft.

Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

Industrias94 is back at the frontline with 3 new rave hits, lovingly pressed on 12” vinyl. Pre-order and digital downloads available now on our Bandcamp.

Euphoria Jones represents a sonic journey towards the golden era of UK hardcore, filling our heads with catchy stabs that will stick with you for days, alongside heavy and distorted drum breaks. After some years mashing dance floors as a dubplate, we are very proud to finally announce its release in a special limited edition.

This record is brought to us by the Sevillian regent of breaks and bass, Hartta! Producer and DJ from Seville, who lived in Bristol for some years where he drank from the legendary local sounds and its soundsystem culture which shaped the current electronic music scene. Alongside Random Vestax, they manage the label-collective Dead Trax, releasing music and putting on iconic club nights featuring local artists and international bookings, some of them playing for the first time in Andalucía, such as Nikki Nair, Aloka or Interplanetary Criminal.

“Who said that the hardcore would die?” Thus yells out the sample in Midnight Eulogy, the second track of this record, which in itself is proof that this genre is more alive than ever. The evolution of 90s breaks crystalizes in this banger, containing all the classic sonic elements from the rave anthems we love, but creating a fresh piece by combining these elements with an idiosyncrasy unique in its species.

The B-side is completed by a radical and ruthless remix of the title track “Euphoria Jones”, by none other than our own Bazofia! From the Fontanal, he brings us an acidic and darker version taking us through an all-terrain 4x4 beat to a drop representing a truly electrifying slap to the face.

Arp Frique returns with a brand new release on his imprint Colorful World Records in collaboration with Rush Hour. A compilation of 12 Cape Verdean gems assembled with the help and knowledge of Americo Brito, there is a very special story behind it. Americo Brito, who features on Arp Frique’s original Nos Magia, is a proud and important member of the Cape Verdean community in Rotterdam. His story reveals the historical connections between radio, vinyl, Cabo Verde and Rotterdam’s international music scene in the 70s and 80s. Cape Verdean insiders say “we export all they have to other countries, only to import it back again”. Cape Verdeans have migrated all over the world, mainly to cities with big harbours, like New York, Boston and Rotterdam (Holland). Rotterdam became one of the main destinations (next to Portugal) on the European mainland. When Americo, like many of his friends and relatives moved to Rotterdam, he quickly became infected with the music virus. Surrounded on a daily basis by Cape Verdean music in Portuguese pensions and small hotels, this was where sailors ingested a dose of “sodade” through the interpretations of their beloved music by the local Cape Verdean artists. Americo took to the stage with his band Djarama in the 70s and 80s. The live music scene was buzzing and the Cape Verdean community had their own infrastructure for arranging shows, often in nightclubs where the band had to bring their own soundsystem. Interestingly, Americo didn’t stick to performing and recording music. He found another way to help spread the Cape Verdean magical secret of music across Rotterdam, Holland and beyond: “There was this spot in Rotterdam where all foreign radio stations were housed, all these different nationalities together, Surinam, Cape Verdean, Hindustani…Guy Ramos and some of my other friends made radio in the 80s there. I got involved in their radio activities. Later on I started to work as a technician and eventually as producer and radio DJ for “Radio Voz De Cabo Verde”. Radio became bigger and there were around 4 different Cape Verdean stations active at one point in Rotterdam. instrumental in the development of this was the attic of a Dutch friend, where “Radio Babalu” came to life. Radio has always held a special place in my heart.” Americo’s music collection stems from this era, also aided by his many travels across Europe to cities with Cape Verdean communities. Alongside Rotterdam local, Arp Frique, Americo unveils some of these songs: dancefloor hits and beloved radio gems known in the Cape Verdean scene by younger and older generations alike, and so far undiscovered by a “bigger” audience. The compilation showcases the worldly view of Cape Verdean music, incorporating knowledge from their travels in their compositions. It ranges from the obvious funana and coladeira, to the more unexpected influences of deep disco, new wave, uptempo reggae, jazz-funk and Brazilian pop music; demonstrating just the tip of the iceberg, but what an amazing t(r)ip it is!

You're about to witness the return of Seahorse to BCSM. After he set the start for BCSM Records back in 2018 with the legendary BCSM001, we're more than happy to welcome back the Munich based producer with a brand new 12" vinyl release.

It can't get deeper than on this one. The Black Hole EP comes with four new productions ready for the soundsystem. Expect a overwhelming mixture of contemporary steppers dub, original dubstep niceness and outerworldly bass works. Imagine yourself getting caught in a blackhole and enter a different dimension full of wobbling bass and auditory deepness. This is the sound that makes walls fall into pieces.

Seahorse developed his production style over the last years to the max, so get ready to fulljoy this heavy bass shower.

For the extra portion sub, LXC lifted the frequencies again.

Dark Entries again shines a spotlight on bathhouse disco don Patrick Cowley with a newly remastered release of Kickin’ In. Although Cowley tragically passed from AIDS-related illness in 1982, he left an extensive archive of unreleased tapes, many of which Dark Entries has had the honor of releasing. While working as a lighting technician at The City, SF’s disco cabaret, Cowley saw rising star Frank Loverde perform. Cowley asked Loverde to contribute vocals to some material in progress, and Frank, Linda Imperial, and Peggy Gibbons joined Cowley in the studio. The resulting songs included “Kickin’ In,” a 9-minute cybernetic disco stormer that taps into the essence of Cowley’s hi-NRG sound: equal parts spaced out and zoned in on the dancefloor. In May 1978 Cowley joined Loverde on stage at The City to perform “Kickin’ In” as they opened for disco diva Sylvester.

“Kickin’ In” was initially released in 2015 via Honey Soundsystem who found the tapes in the basement of Megatone Records owner John Hedges. This newly remastered version was made possible due to the discovery of the original multi-track recordings of "Kickin’ In," allowing for a fresh mixdown by Jim Hopkins as well as the creation of a new instrumental version. Also included are two impeccably sleazy Cowley jams recorded in 1980, “Thief of Love” and “Make It Come Loose.” Cowley narrates excerpts from his erotic journals on these raunchy slow-burners, capturing the vibe of SF’s leather bars and backrooms. “Thief of Love” features frequent Cowley collaborator Paul Parker on background vocals. This reissue of Kickin’ In includes features an illustration by Gwenaël Rattke that originally appeared Cowley’s erotic journal, Mechanical Fantasy Box, as well as a postcard with lyrics. “Patrick parted the veil and entered a dark world of forbidden vices, wondrous musical panoramas and bold, strident, hopeful possibilities. Patrick brought the future to us and laid it at our feet.” – David Diebold, Tribal Rites

Fellow Rome techno figurehead Adiel debuts on Spazio Disponibile with some heavy heavy low frequency cuts. Exploring bass weight in multiple tempo's, it's one of the most experimental releases on the label to date, still the main focus here is making dancefloors move. With Bristol icon Pinch contributing to the mix it's made sure these steppers are soundsystem proof and will wiggle both mind and body.

Rosebay Music presents Darker Flowers - a V/A project showcasing 4 hotly-tipped new school producers - all representing a haunting soul sound with elegance and class. Romanian wiz kid Azotix has been making moves recently with his ultra-clean future bangers. But here he shows another side of his sound with the beautiful 'Hurt'. Styke & label boss Submorphics linked up in The Hague for a unique collab in 'Lonely Dub' - channeling dub techno + moody film noir D&B. LO! represents Chicago with the timeless banger 'Transition' - bringing an early 2000s sound into 2024. And imo-Lu finishes the EP with the gorgeous- yet-deadly bassbin rattler 'Inhibition'. Epic soundsystem music straight out of Glasgow.