House News

Repress

4 signature tracks from the man himself on a heavyweight hand-stamped white label.

Four months on from the release of David Walters’ hit Nocturne album, the Marseille singer/songwriter’s penchant for creative re-invention is on full display on this new EP that shows off the creative dexterity of DJs and producers from Europe and the Caribbean.

Featuring a stable of DJs and producers from France (Folamour, Synapson, Patchworks/Voilaaa); Germany (Henrik Schwarz); Portugal (Batida); the Netherlands (Pushin wood) and Guadeloupe (Déni-Shain, Mister Francky; Woodini) the EP enacts Walters’s resolutely international and collaborative artistic vision.

Paris-born DJ/composer Walters has long encouraged others to re-interpret his work. Indeed, one might say it’s a defining characteristic of his oeuvre, so much so that earlier albums have on occasion included differing versions of his songs on the same release.

Take the now talismanic Walters’s song, “Mama.” The tribute to Walters’s grandmother and the resilience and wisdom of all Afro-Caribbean women was the first single on Walters’s 2020 LP, Soleil Kréyol; then re-appeared on the Nocturne release one year later (after providing the foundations for an EP of mixes by longstanding musical confrère Patchworks in 2019).

Here, Henrik Schwarz’s take on “Mama” – the German DJ best known for his mixes of Ebo Taylor and Pat Thomas - introduces a distinctive keys motif, shifting the scene to dancefloors (far removed from the song’s original lilting, lyrical vibe).
If there’s a through line for the new remixes collection it’s the EP’s delicious groove. See, French producer duo Synapson’s version of “Baby Go” that’s sustained by disco dreaminess, strings for enhanced effect, playing around with momentum. Or the gorgeous Folamour-helmed “Sam Cook Di” sustained by the intricate Romantic sensibility of 90s Parisian House.

The inclusion of Folamour – the Lyon-based DJ/producer charged with carrying the torch of French electronica, check out his Mix Mag cover from April this year – in the EP line-up is quite a coup.
Other highlights are the EP’s twin re-invention of the song, “Papa Kossa” – a homage to the Cameroonian saxophonist/singer Manu Dibango, dubbed “Papa Groove” who passed away in March, 2020 – by Lisbon’s Batida and also DJ team, Déni-Shain and Mister Francky, who are currently based at the legendary Debs studio at Point-à-Pitre, Guadeloupe.
Batida (aka Pedro Coquenão) a DJ, born in Angola; raised in the Portuguese capital’s suburbs, whose music has been lauded by BBC6’s Gilles Peterson offers a particularly captivating remix of the song written for one of the giants of West African music.

While the first “Papa Kossa” allowed for the ensemble of master musicians - Malian master kora player, Ballaké Sissoko, French cellist Vincent Segal and percussionist Roger Raspail - to shine, the Batida remix strips the music back, transforming the piece into a delicate bird-like structure deep on anticipation. The Déni-Shain and Mister Francky mix, meanwhile, emphasises the tune’s buoyant essence.

Another immediate classic is the Woodini remix of “Sa En Yé” that breaks the musical elements down to a kind of deep super structure, starting with Walters’s voice – in close – to then add all the other parts, jangly piano, descending chords and percussion.

The recording of the Nocturne album – released in February 2021 – epitomised the notion of “unplugged” - 100 % live, no over-dubs or re-recordings, the fact that the musicians were performing “without headphones” (no safety net) led to the creation of a work of “rare sincerity” as Heavenly Sweetness label owner, Franck Descollonges recalled

The Nocturne remixes release maintains Walters’s essential spirit of collaboration; his desire to create music that is a bridge between places and people. But whereas, the first Nocturne album was deeply involved and meditative – a master class of musicians whose careers stretch back four decades or more – Walters’s remixes EP is all about contrasting voices and visions, spanning the globe.

This label is a product from the famous Cosmopolar Club (based in
Erfurt, Germany) who wants to present their residents & friends.
Polar001 was the formerly known OPENDOORS001 - so this is the
official debut release by Raycoux & Stefan with remixes from
workaholic Beatamines and Fabian Reichelt who just released his
debut Album as MARIAN (together with Marek Hemmann).

Marc’s debut on Amatori reclaiming the heritage of people with millennial knowledge who have been forgotten.

The people of the forests will continue to resist. They can't go on being ignored, spending their lives pushed out of the way. The "whites" believe they know better, ignoring a millennial heritage of knowledge and diversity.

Finally the wait is over, after having shared with you some bits and pieces of the grand, wild Mainline Magic Orchestra world, we are now proud to present their debut 4 track 12” EP.
As you would expect it’s far away from ordinary, the guys are mixing styles and influences as they please to deliver a full package of dance floor fillers & thrillers.
If you not yet follow the Barcelona based audio & visual artists we urge you to indulge in their cosmos full of FUN. They still have a million surprises up their sleeves.

The latest microcastle release welcomes the unique and exceptionally talented Upercent to the label for his debut EP. Born in Valencia, this thought provoking, emotive artist has steadily developed a distinctive style that fuses organic and analog sounds with masterful creativity, perfectionism and constant innovation, making him one of the most naturally talented producers to emerge from the Spanish scene. Upercent's uncanny ability to tell captivating stories through his music has seen him evolve and raise the creative bar with outstanding releases on Kompakt, Diynamic, Monaberry and Endless. Now making his microcastle debut with the three track artist showcase 'Vuit', Upercent presents some of the most eclectic productions of his career alongside a remix from Chaim.

The Ep Begins With Its Title Track And First Showcase Piece 'vuit'. Built On A Deep, Meditative Groove, The Piece Develops With A Unique Hypnotic Charm. Upercent's Use Of Distinctive Percussive Elements, Eastern Motifs And Clever Dub Styling, Creates An Instantly Memorable Introduction To A Pure Master At Work. From Its Metronomic Chiming Base, With 'tango' It's The Arrangement Of Organic Designs That Makes Yet Another Undeniably Original Creation. In Fact,  It's A Supremely Delicious Smorgasbord Of Afro Elements That Masterfully Builds Towards The Unveiling Of A Heart-melting Piano In The Final Act, Revealing The Unrivalled Steamy Aspects Of The Classic South American Dance To Perfection.

Take A Treated Guitar Along With A Multitude Of Distinctive Elements, Add Some Jaw-droppingly, Seductive Tones, And Breathe Everything Deeply Into A Stripped Back Arrangement Laced With Analog Stabs, While Drawing On The Experimental Attitude Of Freeform Jazz And You Have The Third Offering 'submissive'. But, Upercent's Masterstroke Here Is To Collaborate And Introduce The Sublime Vocals Of Dwayzo Lawrence Aka Knowkontrol, From Syracuse, Ny. This Multi-genre Artist Has A Complementary, Experimental Attitude That Channels His Inimitable Ability To Inject An Already Profound Track With Authentic Soul. A Precious Talent That Has Already Seen Him Collaborate With Some Of The Electronic World's Finest Innovators And Labels Such As Crosstown Rebels, Drumcode, Rebellion And Keinemusik.

To Complete This Already Creative Package, Microcastle Has Enlisted The Remix Talents Of Berlin-based Artist Chaim. The Renowned Musician, Dj, Producer And Tel Aviv Native Has Long Been One Of Electronic Music's Most Fascinating Artists. Having Previously Remixed The Likes Of Art Department, Pete Tong And Ellen Allien, His Organic, Forward-thinking Music Has Found A Home On Bpitch Control, Cocoon, Culprit, Disco Halal, Rumors And Turbo. As An Artist Bound By No Genre, But Tuned Into Expressions Of Liberation And Joy, Chaim Creates Music That Is Truly Universal And Is The Perfect Choice To Re-interpret 'submissive'. Chaim Nails Down A Backbone Of Tough, Incessant, Hypnotic Beats, Complemented By A Seductive Blend Of Evolving, Tribal Percussion, While Reprocessing Knowkontrol's Vocal Into A Mesmerizing, Magical Spell, That Forms The Perfect Finale To This Stunning Four Track Audio Adventure. Upercent's 'vuit Ep' Is A Showcase That Offers A Unique Insight Into The Creative, Musical Mind Of An Artist Whose Talent Knows No Boundaries.

On 'Made of Wood', his ninth full-length album since 2007, Oliver Koletzki embodies the seasoned craftsman, carving out his deeply personal sonic sculptures with a confident, learned hand, while experimenting with a broad range of thrilling ideas and fresh textures. The result is an organically flowing, yet decisively shaped work of art, that naturally concludes a trilogy of albums Koletzki embarked on releasing with 'The Arc of Tension' and followed with 'Fire in the Jungle'.

Initially written in Tulum, Mexico, during the pre-pandemic winter of 2019, 'Made of Wood' is physically entwined with the primeval forests that continue to inspire its maker: In the subsequent year it took to complete the album in Berlin, Oliver, aided by numerous live musicians and vocalists, brought his sketches to life with a focus on wooden instruments like djembes, marimbas, santoors or duduks, sculpting a natural sound that's warm in timbre, rich in groove and literally made of wood.

Thanks to the imperfection of the human hand, the album sings with a bold vibrance that stretches from the LP's slow carnivalesque opener 'Caravana De Los Elefantitos' to the blue horns and Wennink's lamenting coos on the concluding ballad 'Turn'. Intermediately, Koletzki's rhythmic explorations take the shape of mythic odes ('Dear Mexican Jungle'), boisterous tribal dances ('La Veleta'), floor-focussed shakers ('Copal'), handpan-driven epics ('Cryptozoology' feat. Walter Scalzone) or subdued oriental belters ('Serpiente Del Ritmo' feat. ELIH) – emphasising his control over light and dark tonalities, over organic and synthetic sounds alike. Most strikingly, Oliver slowly breaks away from the album's natural feel in the mid-section, in which the disorienting, abstract stunner 'Picture' (with Niko Schwind & Judith Ahrends) rubs shoulders with the synth-crescendos of the bouncy 'Made of Cashmere', while the 14-minute long meditation 'A Starseed's Journey' makes for a powerful penultimate breather later on.

Next to the meticulous attention to instrumentation and his instinctive touch, these twists and turns underline that Koletzki feels entirely at ease on 'Made of Wood' – like the true artisan he is.

Oranges Vinyl, farbig bedruckte Innenhülle

Real World Records – das berühmte Worldmusic-Label, gegründet von Peter Gabriel - jetzt bei Universal Music! Montparnasse Musique sind der algerisch-französische Produzent Nadjib Ben Bella und der südafrikanische DJ Aero Manyelo.

Gemeinsam produzieren sie einen elektroakustischen Sound voller ansteckender Hooks, kompromisslos und authentisch. Ihre neue, selbstbetitelte LP ist eine kühne Mischung aus den traditionellen Klängen Afrikas, kombiniert mit dem Puls des modernen Johannesburg: Gqom, Kwaito, Techno und Afrohouse.

After a humble startup release in 2019, Philou Louzolo continues his quest with his Afrofuristic label Wokoundou and welcomes us once again in his fictional multiverse. The opening anthem Ahosi Army is that song where we can hear Philou's diverse influences come together: aggressive polyrhythmic African drums are taking the lead accompanied by Philou himself playing the percussion in combination with lightsaber - effects and lazershots shooting over a deeply layered African Techno track, a true space battle anthem. Violet and Alma Negra are taking us to a new place at the intergalactic outskirts of Wokoundou's multiverse with two strong and propulsive remixes.

Going Good pair up, once more, with Detroit's Todd Modes (1/2 of Cosmic Handshakes) for a 4 tracker of discoid motor city music. Featuring a plethora of international and local Detroit musical talents and movers (including our very own Tokyo connect - Yoshinori Hayashi), the 'Serpent EP' is not typical of the majority of sonic output from the city. Eschewing techno archetypes and operating within a distinctly 'live' group scenario, Modes and his crew offer us an organic 4 tracker steeped in ritualistic studio jamming and mixing, explosive live percussion, whispered chants and vocals, heavy dub stylings and jazz infused keys work, all graced with blasts of skilful saxophone and a feeling of hazy smoked out groove that only a lifetime of digging $1 thrift store disco 12"s and basement mixing sessions can lead to. Yet another essential piece of fresh after-hours Motown music from this extremely talented camp of contemporary artists from the city.

After a humble startup release in 2019, Philou Louzolo continues his quest with his Afrofuristic label Wokoundou and welcomes us once again in his fictional multiverse. The opening anthem Ahosi Army is that song where we can hear Philou's diverse influences come together: aggressive polyrhythmic African drums are taking the lead accompanied by Philou himself playing the percussion in combination with lightsaber - effects and lazershots shooting over a deeply layered African Techno track, a true space battle anthem. Violet and Alma Negra are taking us to a new place at the intergalactic outskirts of Wokoundou's multiverse with two strong and propulsive remixes.

Wokoundou is an electronic music label rooted in Afrofuturism and Sci-fi, raised by Philou Louzolo. Philou is an artist hailing for his audience to perceive traditional African music within the realm of a more obscure, sci-fi and techno indwelled electronic music experience, hereby fast-forwarding its ancestral prospects into the future. The first volume is an EP that represents Wokoundou's intergalactic diverse sound. Shinobi Of Wokounou is a 5 tracker EP, blending Techno, Japanese Anime soundtracks, Acid and African music. Wokoundou's first release is directed to all dance floors in this galaxy to connect and invite people to perceive African music with an multiversal mind.

Repress

Last year Robert Hood revisited his Floorplan pseudonym, the more disco-tinged, soulful, house aspect of his talents, taking the Floorplan concept to various DJ dates around the globe and releasing the 'Sanctified EP' on M-Plant.

Pink Vinyl

Blake Baxter aka The Prince Of Techno returns to his roots with this six-track 12" of raw Detroit minimalistic grooves.

Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties (it’s one of the reasons some of that body of work is still being sorted through and released 20+ years after his passing). Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn’t tend to give much more information than handwritten track titles on the sleeve of a DAT.

Why he would submit multiple copies of the same or similar tracks to those he worked with, often in totally different configurations, is now a permanent mystery, but it does lead to Jackal the Invizible, essentially a compilation of material from multiple other releases* that Jones had also submitted at the time on its own DAT. All of the songs here were released at least 20 years ago (a few over 30!) and as with practically all Muslimgauze releases they were limited and/or hard to get ahold of now. Jackal the Invizible is both a way to issue those tracks on vinyl as the Archive Series has been consistently doing, and in interesting look into how Jones would organize and sequence his albums.

The track listing here was faithfully reproduced from the way Jones titled these tracks on this submission, which is how you get Fedayeen’s “Bharboo of Pakistan Railways” here called “Fedayeen Bharboo of Pakistan Railways 2001” (although that album came out in 1998 and Jones sadly was not making anything by 2001, only leading to more questions). This compilation as with most of his work was submitted without comment, so it can be asked, was it intended to be a compilation? Had he at some point decided he preferred these tracks in this arrangement rather than on their other tapes? Did he produce so much work and/ or was so disorganized he simply forgot this batch had been mailed off before? Did he have a standing arrangement with his postal worker and just handed him whatever was closest to the door each week? (Well, probably not that last one.)

One thing we don’t have to question is the quality of the tracks here, regardless of familiarity. The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of “Resume and Shaduf Fatah Guerrilla 1999” to the cooly nocturnal atmosphere of “Abu Nidal 1987” and then to the dubby bass pulses and rattling hand percussion of “Hand of Fatima 1999” (possibly the most misleading to longtime listeners - it has indeed been heard on it’s almost-namesake album, but there it’s known as “Mint Tea With Gadaffi”) is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. The result doesn’t touch on every single mode explored throughout the vast body of Jones’ work (you’d need a box set for that), but does prove to be a multifaceted experience that also serves as an excellent introduction to or refresher on Muslimgauze as a whole.

The 50th release on the Clone Royal Oak Series. A small milestone, and its longtime label friend and collaborator Antenna who has the right tunes for this release! He delivers a unique blend of house cuts EP that conjures up a very blissed out and heady feel. Digging deep in the roots of electronic dance music the tracks have a classic and familiar feel, reminiscent of the heydays of early 90's raves and chill outs where the darker and deeper sounds reigned. Antenna puts a fresh spin on those classic themes and firmly sets it in a 21st century place. Another beautiful release on the Clone sub label celebrating the musical diversity of all offsprings of the Royal Oak of house music.

Born and raised in Indonesia, Omar Joesoef built this EP with samples of old records of ethnic music that he has found in an abandoned radio station on Java island. Named Lokananta, it is one of the first radios setting up in Indonesia in the 50’s. The recordings in Omar’s EP come from rituals and meditative chants of one of the last tribes still living in the ancient way, completely disconnected from the modern world.

Chants of Gorontalo opening track is named after a province of Indonesia located on the island of Sulawesi. Over there lives the Dayak tribe who still follows its ancient traditional way of life. They practice rituals to communicate with their ancestors using chants and meditation. This first track is about a prayer for harvests, fertility and prosperity. Dayak is a very intimate and enclosed tribe, keeping themselves away from modern society. These recordings of them singing found by Omar in Lokananta radio station are very rare and special. Lokananta is also the first record label of Indonesia, releasing recordings of wayang performances, speeches, Javanese orchestra. It is a great source of inspiration for Joesoef’s work.

Morning World track is a reading of a Java old story about a mythical creature called Gatot Kaca. Searching old records in his storage room, Omar accidentally found somewhat of a scripture in ancient Javanese. The meaning of it came from his family. The script was released by Kraton, an ancient Javanese royal palace, and was passed down on Omar’s mother’s side of the family. The story is a simplified folklore called Wayang, a traditional form of puppet theatre play from Java island. Omar found a Latin version of the script and asked his friend Sasha Alatas to read it in the way he used to hear it at Wayang plays when he was a kid. To complete the track, Omar made some minor manipulations of the voice and added a few samples of Lokananta records such as bird sounds and environmental soundscape.

“It’s the Heat in the Room” track conveys a strong and powerful energy with consistent heavy bassline, snappy snare, groovy percussion ensemble and vocal samples of the Dayak tribe. The song emulates the adrenalin rush one might feel in the middle of a night hunt. Some of the sounds chosen reminds of the echoes that may be experienced in a dark cave when a single stone breaks on the floor.

After a year's hiatus Optimo Music Disco Plates returns with the first of several planned releases.
First up is long time friend Phil Kieran with an EP made specifically with Optimo in mind. It has been tried and tested over recent months and more than ticks all our boxes. We feel confident it will tick yours too.
Phil says

'The Ep was recorded in my house and made up of mostly live percussion performed live by Thomas Tettey Annang. Originally from Ghana, he moved to Belfast some years ago.
It just so happens his wife is a close friend of my sisters and that was the first introduction.
Thomas now runs "Releasing Rhythms' here in Belfast teaching drum classes.
We used a wide selection of traditional African drums that all have their own name, each one has a style and a sound.

The rhythms used in this record would stem back to South American rhythms but using African drums.

This was a sound and rhythm that influenced early post punk records in New York and still has an influence on dance music today.'

REPRESS

Rare Firecracker heat w/ Sotofett remix

Serrano's Kitchen launches its first vinyl reference with Moroccan dance music producer Zakem. This album contains 4 killer vocal tracks and a dub version. The remix for this album is by the Spanish producer and label manager Danny Serrano. Both original tracks and remixes are amazing for the dance floor.

Deep house, Melodic House cuts
Mastered by Serrano's KItchen.

Blue Vinyl

Pink Vinyl

Blake Baxter aka The Prince Of Techno returns to his roots with this six-track 12" of raw Detroit minimalistic grooves.

The Turbo Guidance quest keeps going on. Our musical roughnecks decided to seek help from a wizard. They needed to empower their earing sense and their dancing skills like mutant elves. Luckily the mighty Mali-I was living in the nearby forest and had something special to share...

In his hightower, it took Mali-I years to find and cook secretly the delicate mixture. It's forbidden to name the ingredients, but once you taste it you immediately feel the bouncy chords and dub delays rising. Play the mighty sound of the "Fallow Tales" and enter into the blue magic power. Full versatility to expand your mind and to reach a parallel astral plane. Exactly what our heroes need to face the coming storm. Next step is going to be darker...

*Sprinkle your ears with the red powder to increase the musical experience*

Vinyl sweetly pressed in 400 limited copies (no repress business) with a riso insert printed in two colors (blue and black) on a Munchen Pure Rough paper 150g/m2 (at Studio Fidele, Paris).

Multi Culti's astrological archive expands into vinyl-phase #2 with deep lunar trips and solar worship from Nicola Cruz, Moscoman, Zongamin, Manfredas, Umoja and Crowdpleaser feat Mah'Mood.

Fly with us, friends - we have places to go, faces to see, sounds to collect and feelings to make.

One of the key emerging artists out of South America in recent years, NICOLA CRUZ is fresh off his debut album on ZZK and primed to take off with his folklorically dope live set. 'Pagano'might be his most dance-floor friendly track to date, sounding like it came straight out of Compass Point studios carrying the smell of good ganja.

Next up is Disco Halal's MOSCOMAN, kicking it in a latino style for a change, flexing his skills into different lingual terrain, masterfully mixing things up in his inimitably unconventional style.

ZONGAMIN is back - The madly talented Japanese cowboy-funk maestro throws down a six string shoot-em-up serenade for talented lovers in cults of the future, everywhere.
MANFREDAS - Our favourite wildman-Lithuanian lights a lethal stick of incense on Glasswalk, a musical memoir of riding a crack pipe out of an opium den in the slums of Mumbai. True story.
UMOJA's Umboweti is a cheerful jungle jaunt, sounding like Francis Bebey stripped and mixed for the club. Guaranteed smiles and vibe elevation.
The trip concludes with Swiss journeyman CROWDPLEASER teaming up with Egyptian homie Mah'mood for a majikal rendition of pre-Islamic poem Yasmin, featuring hauntingly beautiful vocals from Tunisian wedding singer Habib.

Long awaited Lenta tunes are hitting wax on TAPE HISS 007. The EP delivers well composed rhythms and odd sounds for your dancing and listening pleasure alike. Some brilliant tribal vibes here and some bittersweet moments there. It's all about intuition and diversity.

After such a strange year of acceleration/deceleration, it now feels the right time for On Danse Comme Des Fous (“Let’s Dance Like Crazies”), Gilb’r’s first solo album. It’s not his first outing, of course; he is the Versatile Records guru, the ghost from Château Flight alongside I-Cube, and a revenant of our Bright Future. All these past records are, in a way, also his. But ODCDF clearly is its own moment.

Gilb’r has been living in Amsterdam for the last 6 years, a voluntary exile, wandering between his past Red Light district studio (Triangle Days) and the dreamed present of Café Del Pijp.

On Danse Comme Des Fous is the final chapter to necessary meanderings, the light at the end of a tunnel of learning: independence and/in process. Far from being the contrived work of a nerd, ODCF mirrors the Luddite commandments: machines become here the tools of freedom. The record is a spontaneous dance de Saint Guy, a record proud of its imperfections. Gilb’r does not have time for the new codes of hipster ambient. Instead, he leads us back to the 90’s riding some smokey radio waves (the album has its roots in his Radio Nova years), preferring immature psychedelism to prefabricated revival.

Lead by Gilb’r, a now incarnated phantom, the trip always is unexpected (Plant Life). We pass fellow travellers, I-Cube on Super Spreader or Cosmic Neman (Zombie Zombie) in a strange Russian ballet (Я не хочу знать), and, that goes without saying, we will end up totally lost.



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A blossoming creative relationship has been bubbling between young talent CERPINTXT and Stevie R ever since she appeared on his label Inside Out in late 2017.
Kindred spirits with a shared appreciation for the leftfield fringes,
experimentation and deep dark grooves, here they continue their collaborative work on Chapter 24 with the first release from Stevie R's forthcoming album. A new chapter beckons...

'Madilo' ignites the fire, a bright, relentless house affair laced with a dreamy vocal chop and an underslung bassline that bites beneath the surface like a shoal of piranhas. Twisted but restrained and peppered with infectious percussion, it sets the
scene for the Greco-Egyptian collaboration in London perfectly. 'Red Lemon' is a much darker jam that's built around a granular staccato riff that changes in texture and weight as more loopy layers are introduced. The word hypnotic is bandied
around too much these days, but this truly is a mesmerising moment.

Meanwhile in the parallel universe of remixes, Chapter 24 have gone to town, recruiting two significant and influential heavyweights on the revision duties.
Counterchange bossman Ed Davenport returns from his Inland guise for a thumping twist of 'Red Lemon' that's equal parts pneumatic and aquatic, while Man Power breaks down the original groove to its bare-naked acid line and rebuilds it with a
crushing analog hook, off-beat timpani and a host of subtle trippy textures.

Two exceptional originals, two respectful, innovative remixes, one massive album to look forward to. Stevie R is just warming up.

Kasper Marott will release his debut album ‘Full Circle’ in November on his own Axces Recordings imprint. The album features 11 tracks that explore different genres and moods while remaining within Kasper’s colourful universe.

Full Circle demonstrates Kasper’s ability to play with layers and structure. The tracks are built from complex layered harmonies, looped melodies and different rhythmic textures. Kasper’s intuitive approach to production, in addition to the inspiration he finds in other genres, his local community and society as a whole, has resulted in an album that feels fresh and unique.

“With the tracks on the album, I think I’ve been through a process of pushing my own notions within contrasts, musical themes, genres, and composition. Whether the musical tool is transcendence, catchy melodies, or silly experiments, the goal is to put the listener in a position that allows an enriching and meaningful experience whether it’s good, bad, funny, euphoric, nostalgic, sore, or even something completely different.”

In 2018, Kasper released his breakthrough EP on Modeselektor's Seilscheibenpfeiler label. The euphoric title track ‘Keflavik’ lit up clubs and festivals all year long and was named “one of the biggest club records of the year” by Resident Advisor. One of the album’s tracks, ‘Sol’, will also be released as an extended version on Kasper’s forthcoming EP on Seilscheibenpfeiler.

2 Lengthy percussive floor workouts from this U.S. production crew...on Peaking Lights' own TWO FLOWERS RECORDS

Bep Kororoti & Akin debut on Modern Obscure Music with four Afro influenced tracks. Bep Kororoti released a self-titled mini album on Hivern Discs’ more experimental HVNX sub-label in 2016, but he is better known for making music as Kresy. Here, Kororoti is joined by Akin, who provides vocals and saxophone on this EP. Epomuyeñ is dancefloor cut with striking percussion and strong vocals, whilst Eruobodo is a sax dominated track. Ijotiya channels the spirit of Fela and Afrobeat over a spinning bassline, whilst Love is the only way has a deep spiritual vibe and a powerful vocal.

Green Vinyl

Blue Marbled Vinyl

After long time silence, Ene Records is back! Ene will release Tokyo based producer/DJ J.A.K.A.M.'s limited 12'EP include CHIDA's unreleased Remixes. This EP is 3rd cut from remix album J.A.K.A.M. - COUNTERPOINT RMX(CD/Digital)' released in 2017. These all remixes from Japanese producers Mamazu(Hole And Holland)& Hobobrazil, CMT, Ground, Saidrum, YO.AN, Chida and more. RMX EP.1 released on J.A.K.A.M.'s own label cross point in 2017 and RMX EP.2 released on HOLE AND HOLLAND in Mar.2018.
Original version's sound recorded by J.A.K.A.M. with various musician and instrument from Morocco, Kurdistan, Indonesia and Latin/African Percussion in many places in the world. and Ene boss Chida made 122BPM deep tribal house version and 112BPM deep slo-mo version.

Leeds based TOROM brings some immaculate fourth world chugging beats - a tight concoction of the primitive and the futuristic - tied together for both the dance-floor and at home listening. A real journey into sound and a must have for any avid DJ or listener.

Full Pupp is 15 years old and we’re marking the occasion by inviting old and new friends to contribute a track each. Doc L Junior from Tromsø returns to our shores with a track that took us 15 years to get our hands on. Blackbelt Andersen made this fun little track for him to play out, now you can too. Bjørn was the first person I asked for music when I started the Full Pupp’s precursor label “Tamburin". It’s a true pleasure to finally have him on board. it only took 18 years. Dj Fett Burger as Dj Fett Birger rehashes an old remix he did of Prins Thomas.

Extended 4 Tracker of JJ052 - in a mysterious 4 track Vinyl and Hand stamped Promo OnlyVersion/Edition.