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2025 marks 50 years since the release of Donna Summer’s debut international hit ‘Love To Love You Baby’. To herald in this milestone anniversary, we proudly present this newly expanded edition of Donna’s classic hits collection “On The Radio”. • This 24 track/2LP collection features the international hits that propelled Donna’s popularity through the decades, from her 1976 UK Singles chart debut up until her 2008 studio album and includes eighteen UK Top 20 hits. • They include ‘Hot Stuff’, ‘Bad Girls’, ‘This Time I Know It's For Real’, ‘Down Deep Inside (Theme From 'The Deep')’, ‘I Remember Yesterday’, ‘Love's Unkind’, the vocal powerhouse track ‘No More Tears (Enough Is Enough)’ with Barbra Streisand and the groundbreaking #1 ‘I Feel Love’. • Donna Summer gained prominence during the disco era of music, rightly earning the title "The Queen of Disco" and becoming one of the most successful recording artists of the 1970s and all-time best-selling female Artists. • She was the first artist to have three consecutive Double Albums hit No. 1 on the US Billboard charts, as well as becoming the first female artist to have four No. 1 singles in a thirteen-month period. • Donna’s catalogue has sold more than 130 million units worldwide and her music is still relevant today, as her music continues to fill the radio airwaves, appears in TV programmes, movies, as well as TV commercials. • In 2023, her daughter, Brooklyn Sudano, who along with Roger Ross Williams, directed “Love To Love You, Donna Summer”, a documentary that followed Donna’s personal life and career. The film had its world premiere at the 73rd Berlin International Film Festival and was screened at SXSW. HBO released it in May 2023. • Earlier this year, Donna was posthumously awarded a Recording Academy Special Merit Lifetime GRAMMY, as well as ‘I Feel Love’ being inducted into the GRAMMY Hall of Fame

a 1. Love To Love You Baby Single Edit
b 2. Could It Be Magic 7" Version
c 3. I Feel Love [Edit]


[f] 6. Love's Unkind [7" Version]
[g] 1. I Love You [Single Version]
[h] 2. Rumour Has It [Single Version]
[i] 3. Last Dance [7" Version]
[j] 4. MacArthur Park [Single Version]
[k] 5. Heaven Knows [7" Version]
[l] 6. Hot Stuff [Single Version]
[m] 1. Bad Girls [Single Version Edit]
[n] 2. Dim All The Lights [7" Single Version]
[o] 3. No More Tears (Enough Is Enough) [7" Version]
[p] 4. On The Radio [7" Version]

[r] 6. State Of Independence [7" Version]
[s] 1. She Works Hard For The Money [7" Version]
[t] 2. Unconditional Love [Edit]
[u] 3. Dinner With Gershwin [Edit]
[v] 4. This Time I Know It's For Real [7" Mix]
[7" Remix]
[PWL 7" Mix]

Today’s Youth a collection of Ramtin Niazi’s reworking of some Iran’s most beloved songs. He’s given new life to the music of Googoosh, Kourosh Yaghmaei, Marjan and Artoush. These songs are reimagined for a new generation and are a reminder that great music never goes out of style.

Double A-sided lost & found Maffi 7" from 2013, with vocal cuts by Junior Roy and Lord Sassafrass.

Built from the DNA of Sleng Teng, the Heidi Riddim flips the scripts on this most classic of classics by taking it to the black keys, in a minor key style and fashion. With its thick deadly bass line at the fore, Heidi has been specifically engineered to kill tin pan sounds and discombobulate Babylonians.

On the A side, with Run Di Session, the then 16 year-old Parisian phenomenon Junior Roy demonstrates his distinctive vocal style, bearing uncanny similarities to the likes of Little Kirk and Yami Bolo at their prime. On the flip, the veteran thoroughbred Lord Sassafrass gallops across the riddim with the same panache that saw him rule dancehalls across Jamaica in the 1980s.

This is the second of the two Heidi Riddim 7"s, following up the now hard to find Speng Bond cut and the raw Dub version.

Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.

On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.

Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.

It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.

The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”

That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”

Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.

Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.

Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.

Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.

Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“

Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“

Anadol and Marie Klock have teamed up for a joint album, La Grande Accumulation. They met two years ago at a festival in England crowded with violent seagulls and outsider musicians. Klock being prone to barking on stage and Anadol not laughing at jokes she doesn’t find funny, they straight away had the intuition that they would meet again. And so they did, a few months later, at Anadol’s studio in Istanbul.

Today, the two Pingipung artists present the fruit of this musical friendship. La Grande Accumulation was born out of the peculiar atmosphere of the studio neighbourhood in Büyükada, an island where thousands of cats run free and humans randomly destroy things during apocalyptic times when parts of Turkey had just been turned into dust by terrible earthquakes. The French lyrics are inspired by hours of conversations, the music is consequently drenched in absurdity, overflowing with a strong urge to live and enjoy. According to the LP sticker, this album has been certified “Best handshake of 2024”, and stickers never lie.

La Grande Accumulation brings together Marie Klock's mysterious metaphors and Anadol's intriguing radiophonic psych-pop. Stretching forms beyond common sense to see how long they can resist is probably their favourite game. The result are six highly imaginative tracks that challenge the sub-3-minutes standards of Spotify pop.

Gözen Atila aka Anadol is well known to the Pingipung audience, with three solo LPs on the label. Her music follows a kind of collage logic, she interweaves countless styles, combining field and studio recordings with obscure quotation marks here and there. "I hope no one will come and explain this music to me, because it's the most beautiful music there is", says Kristoffer Cornils about her solo album Felicita.

Marie Klock is a French writer and musician who produces songs oscillating between synthpop and neo-folk, full of anarchic humour and existential dread. Her recent solo LP on Pingipung was a captivating tribute to the recently deceased poet Damien Schultz entitled Damien est vivant.

Marie Klock delivers her lyrics in song or spoken word, stream-of-consciousness musings on strange human adventures, and her rich keyboard melodies culminate in a nonchalant dialogue with the bass trombone (La Reine des Bordels). In the opulent opening piece (La Grande Accumulation), a woman is cursed to take home everything she kicks in the street; a bit later, we stumble upon a ghoul hiding in the gutter (Sirop amer), Mona Lisa loses her teeth (Sonate au Jambon) and a warthog struggles to climb the stairs of a silver tower (Sabots triviaux).

La Grande Accumulation was mixed and mastered by Jonas Romann at Chaos Compressor Club in Hamburg and cut to vinyl by Kassian Troyer at D&M in Berlin. It's an audiophile LP that invites to focus on every detail in this heap of musical ideas.

Exitus Records presents a brand new various artists EP compilation with six of the most exciting names in the techno scene. A strong team that brings the solid vibe together in the 2nd record of the sub-division of the label.

Born and raised in the Swedish province Dalarna, Stockholm resident Jo Bubbles (aka Jonas Dahlström) has previously released music on Parkway Records and put out several selfreleased titles, most recently on the cassette venture Makemake tapes.



On his first outing on Västkransen Records, Jonas opens his toolbox of subtle grooves and tweaking melodies. A journey into electro, dub and italo-infused house, “Hidden Place EP” features three original club cuts and a mind-bending DnB remix from Stockholm’s hardware veteran Parallax Deep. As one of the tougher releases in Västkransen’s catalogue to date, this record doesn’t just offer solid dancefloor material, but a genuine musical treat.

After two collaborative releases on raum…musik — first with Federico Molinari and then Giuliano Lomonte — Alexis Cabrera steps into the spotlight for the 118th release of the label. "Dreaming Of A Silver Future" is a club-ready 3-track EP exploring various shades of Tech House, solidifying his talent for crafting fresh dancefloor groovers brimming with swag.

The title track, 'Dreaming Of A Silver Future' (A1), is the most colourful offer of the EP — a relentless groover immersed in organ chords, synth stabs, addicting vocal samples and a fully pumpin' bassline. 'Your Name On My Arm' (B1) puts its wicked bass and hypnotic vocal samples at the centre of the stage, creating an atmosphere of frantic, slightly wicked vibes drenched in hip-hop swagger. 'Do You Wanna Wonder' (B2) closes the EP in full swing, forefronting yet again its ominous-yet-hypnotic bassline between bouncy drums, shuffly rhythms and quirky vocal samples reminiscent of some sort of hypermodern pop.

"Dreaming Of A Silver Future" continues Cabrera's reputation for delivering groove-heavy music for the hottest dancefloors, showcasing his ability to navigate, with style, the infinite nuances of the Tech House spectrum, all while keeping things undeniably club-focused. And raum…musik, known for its refined curation of underground top-shelf dancefloor records, is the perfect home for this release.

Building on the foundation of his two EPs for Samurai Music, we proudly present Urmah, the first LP exploring the 170 tempo from acclaimed Techno/Electronic producer Juan Rico aka Reeko, aka Architectural.

Reeko has now become an integral part of the overall Samurai Music sound. His work resonates deeply within the label's ethos, and Urmah exemplifies this synergy, highlighting his ability to enrich and expand Samurai Music's vision and push the boundaries of his own artistic expression.

For Urmah, Reeko delves even further into sound and psyche with a richer, more enveloping exploration into his distinct interpretation of the tempo. Reeko's production prowess shines brightly on Urmah with the warmth and weight of each track leaving an indelible impression.

Urmah focuses on heady fathomless grooves that tease shards of breakbeats like delicious icing, binding themselves to a gentle psychedelia with celestial textures. This is dexterous, meditative journey music from a producer who has an intimate relationship with groove creation.

As one of the most respected Techno producers in the genres long history, Reeko's influence and mastery are undeniable. With Urmah, he further showcases his expertise, expanding his palette to display a refined command of the 170 BPM tempo. The LP is a testament to his ability to innovate and redefine, solidifying his reputation as a pioneering force in electronic music.

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

Fresh off a rework of Papa Levi with single Ribena, London’s jungle pioneers 4am Kru drop their highly anticipated debut album Incognito Rhythm featuring all the tracks that have cemented their reputation as the go-to act for raw, live jungle music.

Having already taken the 2024 festival circuit by storm with appearances at Outlook Origins, Boomtown, Boardmasters, Reading+ Leeds, The Blind Tiger, Parklife Waterworks, Boundary and a milestone Saturday night closing set at Glastonbury’s Temple Stage, 4am Kru continue to draw audiences into the madness of their raucous blend of 1993-1994 influenced jungle. First bursting onto the scene post-lockdown, the falling monitors and flying bodies of their shows were particularly thrilling for ravers who had turned 18 in isolation.

Originally developing their live sound in indie bands while sharing a studio in Tottenham, the duo quickly realized that the traditional DJ set couldn’t contain the energy of their act. They have since surrendered to the chaos of their incredibly physical performances, nursing chipped bones and back injuries, deep finger taping, chalking up and wearing shoes designed for skipping rope whilst rewiring what it meant to move their bodies. Their innovation extends to the equipment, with the duo reinventing a way to deliver their signature throbbing basslines with a Roland SPD SX drum pad as thick as a car tire. Their upcoming UK tour this October promises to further showcase their immersive, disruptive sound.

4am Kru’s latest single Ribena breathed new life into Papa Levi’s iconic British reggae classic Militancy following the release of hard-hitting Wutt this past July, setting the stage for their most ambitious project yet. Their debut album draws from a wide range of influences in addition to 4am Kru’s signature blend of 90s jungle flavours, from obscure slow jam R&B like Angela Bofill, Janet Jackson and Prince, early hardcore bands like Hüsker Dü, off kilter Scottish folk, and even classical music. The project is a snapshot of the incognito, nocturnal world that the duo have dwelled in for the past two years, a time capsule of well-worn songs played between midnight and 4am. An extraordinary debut, 4am Kru’s Incognito Rhythm is an immersive, razor sharp, face melting journey through their show-stopping live sound.

Grover Washington Jr, Hydra. This jazz classic finds its first time on 45. Released in 1975 with arrangement and keys by Bob James it’s no surprise to hear an infectious head nod groove under
GWJ’s sublime sax licks. The drums have been sampled over 100 times from ATCQ to Biggie, but
most will recognise the bass hook obviously sampled by Black Moon
for their underground hip hop classic “How Many MC’s”.
Seals & Crofts, Sweet Green Fields. Never before on 45, the Californian soft rock duos’
album cut can easily slip by most diggers. The familiar staccato bassline will have your neck snapping, while a proggy folky riff floats over head. A slightly extended DJ friendly intro showcases the
bass and drum hook sampled for Busta Rhymes’ 1997 hit “Put Your Hands Where My Eyes Could
See”.

Ceri and Alex Arnout launch their new collaboration alias 'CnA', for the eagerly anticipated third release on Ceri's Find Your Own Records label.

The A side 'Higher' is a happy house summer festival banger, inspired by getting high from the music, and the B side 'Show Me What You Got' is an eerie slice of breaksy techno, reminiscent of the early UR sound.

On the remix is Ukranian SE62, famed for his releases on labels like My Love Is Underground and Slapfunk. He reworks the original into a dubby summer laid back deep house minimal cut.

The first two releases sold out on vinyl, had plays on BBC Radio1, BBC 6Music, have rave reviews in dance music press, as well as being Mixmag's techno 'Tune Of The Month', and was also supported by some of the biggest and most respected selectors in the scene such as Ben UFO. Fred P, Mr G, Midland, George Fitzgerald, Paranoid London, Move D.

Mixmag News Piece

Early DJ Support:

Lakuti, Chloe Caillat, Jeremy Underground, DJ Deep, Cici, D’julz, Sarah Story

FREDDIE TERRELL & his Blue Rhythm Band struck gold in 1970 with the perfect slice of Crossover Soul “You Had It Made”, co-written with rare soul legend Herman Hitson. It failed to hit outside of his home town, Atlanta, Georgia and remains a highly sought-after and rare original, reissued here for the very first time. Terrell returned a couple of years later with the Soul Expedition releasing one of the most collectabhle soulful-funk albums of the decade.

CHARLES WILLIAMS also hailed from Georgia and relocated to Finland in the Seventies. In 1975 he released his debut album, the socially conscious, Love Is A Very Special Thing and the breakout single “Standing In The Way”. With it’s easy, soulful, jazzy groove and obscure heritage it caught the imagination of the UK scene and remains a midtempo favourite to this day.

a1 1 Gary Martin, Detroit’s most unpredictable producer.
a2 Human Robot, (Jefferson Ciarvi) Detroit’s most hard working DJ.
b1 George ACTV, the Stylish Brazilian living in Switzerland.
b2 DJ Mau Mau, Sao Paulo’s number one DJ.

Ephemera is the debut album by Fergus Jones, the artist formerly known as Perko, an Edinburgh-born, Copenhagen-based producer, DJ, and founder of the FELT record label. The nine-track release is out on Numbers on 18 October 2024.

Ephemera was developed with collaborative energy as the creative priority, produced by Jones alongside an extensive list of like-minded musicians, lyricists and vocalists including Huerco S, James K, Koreless, Birthmark, ELDON and Withdrawn of Bristol’s Cold Light crew, Laila Sakini and Lia T. The album embodies Jones’ inner journey as he ranges further than ever sonically and emotionally, emphasising instinct, intensity, tactility and rapture.

“Heima” was written and produced with Huerco S and James K between Iceland, Copenhagen and the United States’ East Coast. Developed during and named after the same Icelandic artist residency that birthed Perko & Huerco S’ debut collaboration “Prang,” “Heima” is a shimmering piece of fortified trip-pop featuring vocals from James K, appearing here following solo releases for AD 93 and collaborations with Yves Tumor. “Tight Knit” aligns Jones’ graceful production with the raw emotions thundering from the performances of Birthmark, ELDON and Withdrawn of Cold Light, the shadowy Bristolian collective channelling the city’s deep sonic history into an equally rich future.

In his own words, Jones says “This album was made over the last five years in various studio and outdoor locations around the world, reflecting my ongoing emphasis on natural collaboration as a creative ideal. It’s my most personal record yet, written with experimentation and an open attitude as guiding lights.”

The album makes a distinctive impact that reverberates and glows long after its runtime. Analogue audio sculpting, adaptive processes and imaginative approaches to creating sound are at the forefront – whether resulting from an endless exchange of iterative stems with Huerco S, or hydrophone recordings with Koreless. Evocative vocal performances and songwriting combine with weighty sound design, gliding easily between the organic and synthetic to reflect and expand the thin spaces of transcendence in each.

Expansion’s most successful and longest running compilation series returns with its 2020 collection. It’s the 20th Anniversary edition. The concept remains, the tracks better than ever, fifteen must-have modern soul room gems telling the story of the past 12 months. Tracks here have topped UK soul charts including many that have not been available in all formats. Participants this year include Charlie Wilson (biggest dancefloor spin before lockdown), Tower of Power, Will Downing, Randy Hall, JB Rose The Weather Girls, and Sam Wills all prolific on soul radio through the summer with other artists delivering signature songs of 2020. Then there’s the biggest revival track of the year from Johnny Baker, “It’s Your Night”, the 300 copy limited edition 7” pressing now exchanging hands upwards of £50 a copy.

(incl 40p fanzine written by Matt Annis with photographs by Simon Pyke and Ian Brodie) Postpunk Theory is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo and more.



Defining post-punk is no easy task. While punk was defined by a raw, rebellious simplicity, post-punk (1978-1986) expanded into a diverse array of sounds and ideas. It maintained punk's independent spirit but embraced experimentation, incorporating influences from various musical and cultural traditions, resulting in a movement far more eclectic and fragmented than its predecessor.

At its core, post-punk broke away from traditional rock structures, blending genres like industrial, goth, and punk-funk with emerging dance music cultures. This era's spirit of innovation and defiance against musical norms continues to inspire, making post-punk a pivotal moment in music history that defies easy categorization.

Tony Thorpe presents Postpunk Theory - Alpha ? is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo, African Headcharge, and more.

Growing up in a vibrant musical environment in South London, Thorpe was deeply influenced by the eclectic sounds around him, from jazz-funk to Brit-Funk, and later, the post-punk records he discovered. As Thorpe recalls, "Post-punk was a mishmash of different cultures and ideas. Out of post-punk came dance music culture. That period was the most creative time because the culture was in its experimental phase." This compilation captures that innovative spirit, offering a glimpse into the era that shaped Thorpe's musical journey.

The album comes as a limited 2xLP set, accompanied by an extensive 40-page fanzine. The fanzine, written by Matt Annis (Join The Future), dives deep into the post-punk movement, offering insight and context enriched with striking photographs by Simon Pyke and Ian Brodie.

Bringing stark dread bass vibes like no one before or since, Mars89 makes a welcome return to Sneaker Social Club with another four-track script flipper.

Since he first surged onto the radar with some incisive moves on Bokeh Versions back in 2017, Masayoshi Anotani has deployed a raw, non-conformist kind of bass music that's minimal in spirit but packing incredible weight where it counts. It draws parallels with weightless grime, but swap the woozy square wave synths out for fierce industrial textures and dystopian bleeps, and maybe you're halfway there.

Following on from 2022's Night Call and a collab LP with Seekersinternational on his own Nocturnal Technology, Mars89 is back with an EP which takes on new sonic dimensions without losing the persistent moodiness that makes his shadowy sonics so compelling.

'No Control' feels the most in line with the earlier Mars89 work, creating a back and forth between an upfront grime-y synth lick and blown out bass notes. The space around the notes is as vital as everything being played, creating a tension that doesn't let up no matter how much the brittle percussion rattles.

'Sonar Breaks' feels distinct as it drags a sticky drum loop through the dirt until it comes out positively caked. That leaves plenty of room for the bleeps up top to cut through the mix with devastating clarity, and Mars89 needs nothing else to make a taut piece of soundsystem Semtex.

'Hydra' continues to draw influence from jungle while taking a sideways approach to breakbeat edits, finding a curious groove in angular drum science before a stark arpeggio locks the track down. It's another hint at the different tools being reached for on this EP, brought into the Mars89 methodology and bent to his particular will.

'Still Dreaming' closes the EP out with an evocative sample from a sci-fi blockbuster and a spiralling sound bed of synth lines and break shards. While the track lands softer than its predecessors, the dense mix whips up a claustrophobic allure comfortably aligned with the overall intensity of the record — an intensity which is wholly unique to Mars89 and his maverick manoeuvres in the field of contemporary bass music.

This October Jamiroquai celebrates the 30th anniversary of ‘The Return Of The Space Cowboy’. Their second album, it will be reissued as a double-LP set on 140g “moon grey” vinyl and includes Michael Gray’s Good Vibe Zone edit of ‘Space Cowboy’ - which has never been released on a physical product. The packaging has also been re-designed for this anniversary release including foil enhancement of the original cover design.

‘The Return Of The Space Cowboy’ is the follow up album to the band’s huge 1993 debut, ‘Emergency On Planet Earth’. Selling over 3 million copies globally, ‘Emergency On Planet Earth’ put the band on the map with their distinctive sound standing them apart from other popular acts of the time.

‘The Return Of The Space Cowboy’ was released just one year later and was met with great critical and public acclaim. Certified Platinum in the UK, Japan and France, it achieved chart success in multiple countries and spawned the single ‘Space Cowboy’ which remains one of their biggest tracks to date. Critically the album was lauded with Rolling Stone saying "Jamiroquai parlay jazzy soul pop so tight it crackles… Nowadays, when most funk comes out of cans, Jamiroquai's live spark glows", The Guardian said “... this second album sounds like vintage Stevie Wonder and Johnny 'Guitar' Watson, but Kay's vocals are as snappy and engaging as his extrovert persona" and Q magazine said it “combines intricate arrangements with several long, free-form workouts crammed with virtuoso performances".

For many, this album is defined by some of the most complex songwriting the band have ever produced and Jay Kay called it “one of our most creative and accomplished albums”. The process of making the album came with many challenges. Having to recruit a new drummer (after Nick Van Gelder failed to return from holiday), the band were met with second-album syndrome with Kay proclaiming since that lyrics weren’t coming "... because suddenly I wasn't homeless, I had everything I needed. So I found myself creating problems to write about." The songwriting process was complex for the band as Jay Kay was often dissatisfied with the results, leading songs to be scrapped or rewritten, but half-way through recording Kay wrote ‘Space Cowboy’, a song which reflects darker times during the recording session, and it became the catalyst of creative inspiration helping them finish the record. On this 30th anniversary edition of the album Space Cowboy gets a modern dance makeover courtesy of DJ Michael Gray, shedding new light on the track and emphasising it’s already infectious groove.

The album built on the success of ‘Emergency On Planet Earth’ and Jamiroquai have become one of the UK’s most pioneering and ground breaking bands of the past 30 years. Pushing boundaries and bringing jazz and funk to a mainstream audience, their sound is not only unique, but immediately recognisable.

THE SOUL BROTHERS SIX hailed from Rochester, New York and have played a part on the Northern Soul scene for over 50 years. Their first recording, for 'Lyndell' Records in 1966, is now a 3-figure rarity, but it is their debut disc for Atlantic, I'll Be Loving You', that first graced the decks at the Twisted Wheel, The Pendulum et al and has become a perennial Northern Soul favourite. At the time of release tt was the B-side to Some kind Of Wonderful' which took the disc to No.91 on the R&B charts.
WILLIE TEE has also been a familiar figure on the rare soul scene since the early Mod clubs with his architypal New Orleans mid tempo soul sound. His early recordings on 'Gatur' rank as some of the most collectable 45s to emanate from the Crescent City. Here we feature his club classic from 1964, the anthemic Walkin' Up A One Way Street'.

Step into the realm of legends with « This Thing EP » by Lukas Lyrestam & Simoncino, featuring the iconic voice of Robert Owens—a true gem on vinyl. This release brings together the visionary talents of rising stars Lukas Lyrestam and Simoncino with the remix artistry of house music luminary Chez Damier, crafting a blend of past and future that resonates with the magic of timeless house. The EP opens with « This Thing » a creation by Lyrestam & Simoncino, elevated by Robert Owens’ soulful vocals that weave effortlessly into the groove, setting the tone for a transcendent sonic journey. Chez Damier, one of the genre's most revered figures, takes the reins with a masterful remix that transforms « This Thing » into something even greater, infusing his deep and emotive style to further enrich the track's essence.

« This Thing EP » is more than a release; it's a celebration of house music’s enduring legacy, uniting legends across generations. Available in limited edition on Skylax Records, this vinyl is a must-have for true aficionados. Don’t miss your chance to own a piece of house history secure your copy and join the legacy.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

If you haven’t been living under the rock you certainly know who Marilin is. Marinella is an Italian-born, London-based artist who with her utmost professionalism is no stranger to the powers of light and darkness, that depends on the mood of the party she is performing at. However here we will leave the light alone and focus on the darkness. Favoured by sir Craig Richards himself, Mariiin has toured the globe playing at the most different and unique events that has given her the edge and insightful knowledge she possesses. Whether she takes people on the musical journeys by herself or with her partner in crime Bobby, it is always an experience that is impossible to forget with the burning desire to repeat and repeat infinite number of times.

Her solo EP “La Notte” has a very unique and defined dark character which has landed on the label with absolutely in sync with its vision.

In 1969, singer and police lieutenant Pedro Gregorio López started recording a series of instrumental tracks and songs on the MAG record label in Peru, ranging from guaracha to cumbia, all cooked with musical eclecticism and simmered to appeal to a wide audience. Many of these musical ingredients combined on the 1971 album entitled "Cocinando", in reference to the similarities between Peruvian cooking and tropical music. López began his career as a singer and orchestra conductor many years earlier, when he joined the backing singers for Lucho Macedo's Sonora. After completing his police training, he adopted the stage name Martín López, in order to preserve the anonymity his job required. Between 1969 and 1971 Martín López y sus Estrellas recorded all the tracks comprised on this album, including salsa, guarachas, rumbas, chichas and boleros, proving their knowledge and mastery of the tropical music lexicon. It is not surprising since the orchestra was made up of the most talented label’s session stars: including the double bassist Joe di Roma, singer Pablo Villanueva "Melcochita", percussionists Ñiko Estrada and Coco Lagos, and trumpeter Tito Chicoma. "Cocinando" is an epic historical treasure that captures the explosive impact of the tropical music movement on Peruvian culture.

Germano Ventura is an Italian DJ, Producer and owner of the record label HOWL. A resident at the famed Circolo Degli Illuminati club in Rome, his busy touring schedule sees him play at some of the country’s most iconic venues such as Il Muretto in Jesolo and Cocoricò Riccione, sharing the decks with artist like Ricardo Villalobos, Zip and Loco Dice. Known for his dark and minimalistic style, his productions often take inspiration from early House tracks, even more so here in his debut EP “Mai Day” for Memento. The title track’s swinging groove and percussions match catchy New York House vocals, a nod at what could be heard at the Big Apple’s clubs Studio 54 and Limelight. “Time 22”pounding drum sounds and raw beats bring on funky sounds reminiscent of the ball room scene seen in the documentary Paris is Burning, while closing track “F8” boasts hip-hop vocals and some naughty electro-disco melodies, ready to cause some serious voguing on the dance floor.

An obscure bit of Brazilian folk rock from the early 70s - recorded with an easygoing, laidback style that's really wonderful! The group's working mostly here in a blend of acoustic guitar and percussion  and some of the guitar work is done by Jorge Amiden of O Terco, using a strange three-necked guitar that looks mighty weird in the picture! This instrument seems to be played using a bow at times - creating a "guitar strings" sort of feel that gives the record a bit more class than you might expect from its relatively rootsy setting  and there's also some great subtle production on the vocals that compresses them slightly, in a way that links the record to some of the other South American rock of the time. Titles include "O Jogo", "Tributo Ao Sorriso", "Blusa Le Linho", "Voce Pole Ir Alem", "Do Zepo Adiante", "Transe Uma", "Cara Ou Coroa", and "Venha Pisar Na Grama".

A sense of destiny hangs over Sentir Que No Sabes, Mabe Fratti’s fourth solo-credited album released in a five year span. Her work has always possessed a finely tuned sense of drama capable of expressing a range of emotional states, and across this new album, she conveys the struggle to process various relationships or situations–and the actions that come next. Sentir Que No Sabes is urgent and clear, poppy, generous and approachable, while showcasing a considerable emotional hinterland. It is also, as Fratti is quick to mention, “groovy.”

Written and recorded with her partner, multi-instrumentalist, and co-composer Héctor Tosta (I.La Católica, Titanic), Sentir Que No Sabes is the result of an intense, detail-oriented process. Fueled by a new confidence gained in their collaborative project, Titanic, and its critically acclaimed 2023 LP, Vidrio, the two hunkered down in the familiarity of their studio (aka Tinho Studios) to bash out the initial sonic coordinates of her new record. “We talked and talked, and discussed ways of playing and recording, until things became inevitable,” Fratti explains. “We recorded a bunch of demos at our home studio and that meant we had a lot of time to re-edit and experiment. We really dug in. We were super focused on detail.” Tosta also took up the controls as producer and arranger-in-chief for all additional instruments. The album was later completed at Willem Twee Studios in Den Bosch in the Netherlands, and Pedro y el Lobo Studios and Soy Sauce Studios, in Mexico City.

For the final studio recordings, the pair were joined by drummer Gibran Andrade and trumpetist Jacob Wick to fill out and expand on Tosta’s percussion and brass arrangements. This small group of friends were able to work quickly and openly, and without fear: a testament to the exhaustive groundwork put in at Tinho Studios. This can be heard in three short, intermediary tracks that also manage to be the most aggressive on the record: “Kitana” (a scratch-laden instrumental that acts as a strange prelude for the last track, “Angel nuevo”) and a pair of two-minute instrumental interludes, “Elastica” I and II. None are throwaway mood pieces; rather they act as emotional cue cards, and hint at the way Fratti and Tosta created the overall atmosphere of Sentir Que No Sabes.

A strong sense of rhythm irrigates the sound from the jump, as heard on the glorious opening track, “Kravitz.” Here, the brilliant plucked cello line acts as a bassline and props up the steady thump of the kick drum. The cello’s growl serves as a conduit for a set of slightly paranoid lyrics that tell us “Quizás haya oídos en el techo” (“maybe there are ears in the ceiling”), while the song also introduces another staple of the record: the clever brass stabs, whistles, parps, and other interjections that paint a canvas of traffic in a city. It’s a postmodern, widescreen sound that for some might recall The Blue Nile’s Hats.

Sentir Que No Sabes is a record full to the brim with a modern pop sensibility, invoked by the sort of magpie spirit that ensnares anything it can find, repositioning sounds for the here and now. The keys and melody on the melancholy “Pantalla azul” (“Blue screen error”) transport us back to the glossy mid-1980s. “Oídos” (“Ears”) is a beautiful slice of contemporary, hybrid pop, in which Fratti’s vocal lines delicately spin themselves around the lean structures erected by the brass and drums, and the descending “plink” of a set of piano chords. Then we have a gloriously strong ending with the swell of “Angel nuevo” (“New angel”), another cinematic track full of gentle, instrument-rich swells and eddies that manages to be almost endless in its range–and yet intensely personal, as Fratti’s voice is close, almost whispering in your ear. A much needed lullaby for our fractious times.

The lyrics, for their part, have a stop-start quality to them, and hint at the small, incremental emotional taxes we pay through just living our lives. They circle around the music like birds waiting to swoop. There is something of the spiritual in all of Fratti’s work that expresses itself in a form of yearning: she looks to new horizons while personal dramas find themselves internalized, contextualized, and then dealt with through metaphor. Here, she was keen to mention Tosta’s constant encouragement in her finding a path to best sing or phrase her words to impart their maximum effect. “Hector was super inquisitive about my lyrics and asked me questions about what I meant, which sometimes is something you don't wonder so much about in isolation,” Fratti explains. “Besides, he is a great poet, and you can see that in what he did on the Titanic record. This made me go deeper into my lyric writing and definitely transformed it into something that I feel super happy about now.”

Take “Enfrente” (“In Front”), a track that initially comes across as a languid, glossy number, with plucked cello strings standing in for a bass line and brittle synth parts. Soon we catch on to a brilliant minor chord switch, which mirrors the fear and doubt expressed in the lyrics as someone “trembles up to the podium” in a “search for meaning.” There’s also the startling introduction of a vocoder in “Quieras o no” (“Whether you want it or not”); it comes precisely at the point Fratti sings “Quieras o no es un desastre” (“Whether you want it or not, it's a disaster”). Moments like these leave room for interpretation and, over time, create a strong bond between the listener and the record.

In fact, across Sentir Que No Sabes, each phrase–whether instrumental or vocal–becomes at some level emblematic of acts and moods that impart deep emotional significance. We see this best on “Intento fallido” (“Failed attempt”), which could be the score to feeling trapped in self-doubt, only to suddenly be sprung free by the song’s gloriously upbeat ending. On “Márgen del índice” (“Index margin”), the quicksilver switch between initial disharmony and a beautiful melody is breathtaking, all augmented by evocative arrangements, textured production, and the slightly playful, gnomic lyrics. The track’s emotional ecosystem allows another brilliant ending, which uses the simple repeated phrase, “Cómo lo va a ver?” (“How are you going to see it?”).

So what to make of Sentir Que No Sabes? High gloss Pastoralism? The sound of a city-bound, post-post modern soulscape? No matter the emotions evoked, it's the work of an artist coming into their own, and creating a benchmark record.

DSK Records is thrilled to announce the release of the highly anticipated album ‘USWATT' by the renowned Barcelona based Egyptian artist, Raxon. BIGAMO welcomes Bi Disc to it's label roster who is best known as one half of producer duo Feeling Valencia and the founding member of acclaimed club outfit Gheist. Under the newfound Bi Disc moniker, he now reveals "Pieces, Falling" a musical spectrum that aims at nothing less than offering the most authentic version of himself.

For further information please have a look below, or in the stocklist attached to this mail.
If there is anything else you need, just let us know

DJ support from Husky, Hector Romero, Javi Bora,Grace Bones, Judge Jules, Sebb Junior, Jay Vegas,Odyssey Inc, ATFC, Claptone, Black Legend, CevinFisher, Michael Gray, Kisch, Hoxton Whores, FullIntention, Booker T, Jamie Jones, Knights Of TheTurntable, Sam Divine, DJ Rae, CASSIMM, Alex Preston

We’ve got a very special vinyl release for you; a brand-new rework of the 1982 classic ‘Do It To The Music’ by New York Dance group, Raw Silk being refreshed for 2024 by legendary UK DJ and producer, Michael Gray. Perfectly in-keeping with the Fool’s Paradise brand and ethos we have built over the past year, West End Records was a label close to our hearts having been one of the most influential dance labels of the past forty years and went on to define the sound of New York City during the heyday of Disco and the ever-popular, Studio 54. With the original reaching #5 in the US Billboard Dance Chart and #18 in the UK SinglesChart, such a classic West End Records record could only be revisited by one of the very best, and who better than Michael Gray to refresh this dance floor gem! Michael’s reworks pays true homage to the original adding his signature flair and groovy, funk-leaden sound. Featuring an exclusive reprise mix which is only available on the vinyl package!

Radio support on BBC Radio 2, BBC Radio 6 Music,BBC Radio Cornwall, Hedkandi, Kiss FM, Mi-Soul,Gaydio, Radio 105 / Montecarlo (Italy), Mambo Radio,Rinse fm, Select Radio, Totally Wired Radio, PointBlank, RTE, Power fm (Ireland), Metro FM (SA), CoolFm, Radio Reverb, Radio FG (France), Release Radioand many more.

We pressed this vinyl for the club sound lovers.

Lots of percussion and catchy harmonies with influences from New York, Detroit and a touch of English style.

You will be listening to the real underground house.

On the "a" side we feature one of our residents and creators of Mostly Records Bs As deep, which includes a track with his alias System T.

On the "b" side from Italy we present for the first time a great friend and artist Nicola Brusegan, who really knows how to make music for the dance floor.

Arriving on transparent blue vinyl, the fourth installation of Figure’s Hardspace series brings six new re-interpretations of Len Faki’s favorites via his Hardspace alias.

Starting with a true classic, the gem that is Josh Wink’s Sixth Sense picks up on the original’s tight plastic groove and creates some serious low end rumble.
A less obvious choice, Aoki Takamasa’s minimalist dub from Japan, gets a complete makeover in the Hardspace edit, using driving percussion to morph the pensive blueprint into an upbeat peaktime slammer.
One of the most iconic basslines of the last decade, DJ Yoav B’s Energize is a standout on its own but paired with the relentless groove of the high-energy Hardspace remix it unlocks new levels of rave potential.
Huxley’s Weapon 3 was maybe one of the darkest tunes ever released on the otherwise house-centric catalogue of UK label Aus, which Len Faki already played back when it was first released. The Hardspace Mix merges a feeling explosive force with the originals sultry ambiance, catapulting the track back onto today’s dancefloors.
Colourful, dubby synth stabs are what keeps the momentum on peak time roller Funktion by French producer Tuttle, which in its Hardspace version packs even more heat, as Faki employs his signature claps and tunes up the original’s enervating siren sound, squeezing out every last drop of energy.
Originally released in the 90ies, Mike Parker’s Shakuhachi Two is as techno as it gets. Only now sounding even more powerful and dynamic, as the Harspace Mix keeps all of the original goodness while stacking additional propulsive percussion for a sweaty floor workout.

TrioRox is a project born from the meeting of three protagonists of the Italian music scene (and not only): pianist Giovanni Guidi, bassist Joe
Rehmer and electronic musician DJ Rocca (Luca Roccatagliati). Three characters who boast an eclectic and consistent curriculum. Guidi, enfant prodige of Jazz piano, has published several albums for the prestigious ECM label, and has collaborated with the best jazz and electronic musicians, from Enrico Rava to Matthew Herbert, from Joe Lovano to Ricardo Villalobos. Joe Rehmer, an American transplanted to Italy, is one of the most sought-after bass players, sharing stages and recording studios together with authorities such as Bob Mintzer, James Moody and Danny Gottlieb.

DJ Rocca is a DJ and musician active since the nineties, and boasts numerous albums, singles and remixes with, and for key protagonists of the alternative dance scene (Andrew Weatherall, Dimitri From Paris and Howie B), as well as a militancy in the jazz scene with several albums together with Franco D’Andrea.

The music that the trio proposes is a mix of electronic, dance, Jazz and pop, with groove impulses in the field of house and techno music, without neglecting mixes between electro, classical and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig.

Album to be released by IRMA Records in October 2024, with guests Luigi Di Nunzio, Gianluca Petrella, Dan Kinzelman and Jacopo Fagioli.
“Moods” is the debut album of Triorox that represents the photograph of the ‘Here and Now’. All the music was born from a studio session that lasted a few days, in which the mood of the three musicians gave the album its sound imprint. What came out of it became incandescent material to elaborate the musical flow of the entire work, which had three different phases.

The first, in which the tracks were born from the recordings, some developed as creations with a common denominator (the three moments of Mood), some as thematic suggestions (Angels, Corea and Next To Canada), and others as a stylistic challenge (the techno of Space Rain, or the drum and bass of Sax & The City).

The second phase, where the compositions were subjected to the test of live concerts, in which it was understood how the tracks could be better arranged, optimizing them and keeping the best ones. The last phase was the choice and insertion of the guests, reasoning according to the type of suggestion that we wanted to give to the specific song. So we gave free rein to Luigi Di Nunzio, who also participated in phase two, playing with us on stage on some occasions. In the same way, Gianluca Petrella chose the piece where he felt most at ease, also contributing to the arrangement.

Dan Kinzelman, a historic collaborator of both Guidi and Rehmer, was included because we wanted his bass clarinet in a specific suggestive situation. Finally, we wanted Jacopo Fagioli (the Tuscan reincarnation of Don Cherry), we wanted him in a specific episode of Mood, for his particular style, impeccable in determining the mood that the piece needed.

Y’KNOW returns to Spiritual World on October 4th with Why Now, an 8 track 12” that is so stacked with groove that you can physically feel the claps when you run your hand over the record.

Why Now lifts the fog established on the duo’s digital 2023 two-song debut, pushing their signature beat forward minimalism into digital dancefloor soundscapes. Following in the tradition of dub records, Why Now features four vocal cuts on the a-side backed with four reimagined and stripped back dub versions on the b side.

Lyrically, Bally takes on the narrative of a detective in search of the perfect groove, even if it ultimately leads to their own fictional demise. Y’KNOW is clearly in pursuit of the perfect vibe, and while doing so exceeds the imagination of most traditional guitar-based bands with a mesmerizing mix of dub, post-punk and synth pop.

Limited to 200 12” copies.
RIYL: Colour Box, Maximum Joy, Tom Tom Club, George Clinton & Brenda Ray

Danny Tenaglia’s new EP on Nervous Records features “Tonight” and “Out From Obscurity” and a remix of his prior Nervous Records release “Move That Body.”

With ”Tonight,” Danny kicks things off with the title track - treating us to both ‘No Beats Intro’ and ‘Beats Intro’ versions. And in doing so - manages to deliver, hands-down, one of the most tantalising and majestically rousing opening gambits we’ve heard in some time.

And when ‘Tonight’ finally bursts its aural banks, circa 1 minute 30 seconds - with the most seamless of transitions, we suddenly find ourselves surfing a decadent wave of hazy Rhodes, staccato bass and mesmeric vocal work - ebbing and flowing right up to it’s opulent and wonderfully soporific conclusion.

Next up we have DT’s re-rub of George Vidal’s ‘Out From Obscurity’; a veritable pressure-cooker of a track, that spins and weaves a sense of poise, tension and drama which escalates stealthily throughout. A stripped-back, rolling synth-driven’, made-to-measure for the 2024 club floor.

Finally - closing this souped-up invigorator of a release - we have ANTRANIG’s remix of Danny and Cevin Fisher’s ‘Move That Body’… a fully tribalized, menagerie-wrapped groove; which wears the sweat, the writhe and all that heat - very much on it’s visceral, live-and-direct sleeve.“

"A Seamless Symphony of Harmonious Electronica" - Jazziz

Emerging from over a year of creative hibernation following their debut album, Stavroz's upcoming EP "Kick Up the Dust" jolts them back into action. The EP flows gently, yet the overall mood of the journey isn’t always easy to pinpoint. There’s a certain vagueness to Stavroz’ sound which allows for bizarre experiments to seep through without interrupting the course. “We like to keep it lightly twisted, like a wink with a frown,” says the band.



In the title track however, Stavroz boldly steers towards the heart of the dance floor: efficient, remorseless, powerful, intense and most of all... elegant. Guiding you harmoniously through the club is a delightful duet of trumpet and saxophone, timed perfectly to heal you where it hurts most.



"Her Eyes Were Red" does what it says on the cover. There's melancholy - without sadness. Power - without force. Love - without lust. Stavroz's music possesses a distinct power that feels both natural and organic, never resorting to brute force or aggression. In their own way, the Belgian quartet offers an astonishing journey of saxophone & duduk, supported by broken beats and chopped vocals.



In Dae-El, a track featuring the Brussels-based producer and sound designer Poltrock, ethereal-sounding synths and duduk are combined with ghostly high-pitch distortions. Despite a backbone of muffled beats, the tune has vaporous qualities, reverberations that wobble and tinkle into space – it’s an easy listening experience but in a trippy, spaced-out way. “We’re trying to go for the sweet spot between the couch and the club”.



Adding further depth to their EP, Stavroz collaborates with Brazilian singer and composer Castello Branco in "Valente." Here, intimate Sade-like vocals harmonize with rubbery scratches, acoustic guitar, and horn segments, crafting a lush lounge piece that seamlessly balances both relaxation and empowerment, transparency and provocation. It's a testament to Stavroz's versatility and their knack for creating music that defies easy definition, leaving listeners eagerly anticipating the next twist and turn in their captivating musical journey.

Exploration, collaboration and curiosity define the rhythm at the beating heart of Mehmet Aslan’s exemplary compositions. The Swiss-born producer of Turkish heritage has already forged a singular path through production, DJing and full-band performances, navigating the more esoteric corners of Berlin’s club culture without sacrificing his musical heritage or innate creativity.

A conceptual new LP ‘Auguri’ follows on from 2021’s gnomic, ornate ‘The Sun Is Parallel’, which saw Aslan musically associate with the likes of Valentina Magaletti and Niño De Elche. ‘Auguri’ also has its foundations in collaboration, born out of a musical lab at Lyon’s annual
Nuits Sonores, the forward-thinking festival with whom Aslan has maintained a lengthy creative relationship.

The resulting audio-visual performance, ‘Bird Signals For Earthly Survival’ introduced Aslan, to the Greek filmmaker Stratis Vogiatzis. Drawing on the philosophy of Donna Haraway and envisioning new ways of being, of living on earth, Aslan and Vogiatzis crane their necks to the sky to witness flocks of birds performing spectacular movements in unison. Fluid and ancient, their organic waltz provides inspiration for Aslan’s extension of the project, spanning sonic shades of electro, ambient and modern folk psychedelia.

On the coastline of Vogiatzis’s home country of Greece, as in many places across the world, climate change threatens to effect the ancient migration pattern of millions of birds, just as their fellow beings on terra firma become increasingly entangled in a man-made disaster of their own creation. In unison, ‘Auguri’ is adorned by artwork from designer Xavi Bou. Known for his ‘ornithographies’, this striking visual captures avian life not only as a force, but a wry observer.

“We need to transform our connections with other living beings to protect the Earth and live together harmoniously”, reflects Aslan. “Personally, this project has made me more sensitive to this issue. I wanted to give back in return for the inspiration I've received."

Perhaps upending expectations of a more traditional ‘ambient’ album, Aslan commits some of his finest compositional work and understated songwriting to this urgent imperative, creating original music that nonetheless, has nature flowing through it. ‘Critters’ presents a spectral sound collage on which Aslan himself speaks from the texts composed at the residency, conjuring visions of “the birds flying… shape of the future”. Meanwhile, the undulating, psychedelic ‘Pigeon Blinks’ takes inspiration from more domestic scenes, charting the unexpected roosting and hatching of an egg on a kitchen window, while ‘Auguri’ gives the album it’s title in connecting to a higher plain, demonstrating Aslan’s ability to lure melody and catharsis from looping hypnosis.

Opener ‘Spectra’ provides a forceful, almost industrial breakbeat that establishes the exigency of the album as well as its sense of wonder, while ‘Euphoria’ reaches the potency of its promise slowly, with Aslan’s modular melodies meeting the flourishing percussion of guest player and multi-instrumentalist, POPP. Finally, ‘Aura’ delivers a cinematic conclusion, mixing an elegiac organ motif, haunting guitar chords and the prophetic sense of a scorched earth. Here, with patience and soaring production, Aslan once more makes the abstract and the unthinkable somehow tangible, mixing in sampled birdsong.

Accordingly, ‘Auguri’ is being released in accordance with EarthPercent, the music industry’s climate foundation, co-founded by Brian Eno. A portion of the album’s publishing will be credited as part of ‘The Earth As Your Co-Writer’ initiative, allowing artists to directly credit The Earth in their new compositions. Here, streaming and publishing from Aslan’s recorded sounds are automatically paid back to a number of vital initiatives worldwide.

Leaning into some of the most vital questions and anxieties of our time, ‘Auguri’ is not a project without a sense of hope. From studio to sea, Mehmet Aslan continues to look to the skies and beyond.