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Daniela La Luz announces her highly anticipated 3rd album, 'System Reset'. For the first time, Daniela has compiled all the music and artworks featured in the album, showcasing her genre-blending style in this 11-track collection rooted in electronic dance music.

Recognized and celebrated for her exceptional live sets and productions, Daniela has garnered support from some of the industry's most esteemed DJs, including Solomun, Adam Port, and Sven Väth. Her track 'Did You Ever', featured on Moodymann's 'DJ Kicks' mix, has amassed nearly 3 million plays on Spotify, proof of her growing influence and popularity.

'System Reset' is a testament to Daniela's ability to reflect on personal crises and global issues through her music. The album features dancefloor-oriented tracks with influences from a diverse range of genres including house, techno, dub, electro, wave, jazz, and breakbeat. The linguistic diversity of the songs, in English, Polish, and Arabic, further adds to the album's global nuance. The AI-generated artworks are a unique visual representation of the music. The tracks were mixed by Tobi Neumann and J Manuel at Apollo Studio Berlin and mastered by Manmade in Berlin.

Daniela's music serves as a powerful call to action against climate catastrophe, underlining her belief in the unifying and inspiring power of music for a sustainable future. The album will be released on double vinyl on June 14th and digitally on June 21st via her label, Dimension Of Being Human.

Numero's second bundle of cover 45s is all things soulful. The Rotterdam-based Another Taste electrifies Maxx Traxx's 1984 Chicago boogie grail "Don't Touch It," which makes its debut on the 7" format here. Colemine Records' Say She She delivers a glamorous rendition of Jim Spencer's yacht-disco hit "Wrap Myself Up In Your Love." Columbia Recording artist Leon Bridges effortlessly transforms Pastor T.L. Barrett's "Like A Ship," updating the 50 year old gospel soul classic for the 21st century. All three are housed in a newly imagined Numero custom sleeve, reflecting the many shades of our ongoing Eccentric Soul 45 imprint.

As Token gears up for its 126th release, the time has come to invite a label favorite - Inigo Kennedy. The Englishman responsible for Token 1 readies us for three tracks of pure grain and warbling melodies packaged as 'The Calling' - a hypnotic yet stomping club record that highlights his unique production style full of character.

Taking up the entirety of the A side, 'Magnitude Seven' pulses itself through the first part of the ep. Melodic yet dissonant as many of Kennedy's best records, the track calls on a stripped down acid line to support a saturated groove and noisy synthwork. Epic in construction, 'Magnitude Seven' comes in waves of unsettling intensity emphasized by a powerful double kick sequence. The B1 takes it up a notch as the title track appropriately named 'The Calling'. A frantic four to the floor rhythm pushes along sustained notes, settling in a certain pressure. Harmonic sections breathe more life in an otherwise nail biting record that defines the Token sound accurately and Kennedy uses this arrangement to distance himself from the classic loop based template used by most producers in his field today, confirming the ongoing relevance of a longstanding career in club music. Ending with a bit of a twist for most, longtime fans will be unsurprised by the choice to wrap things up with 'Out of the Woods' - a fitting electronica closer that departs from 'The Calling' with a focus on introspection. Drifting notes and a shuffled percussion line are reminiscent of his UK roots and fit perfectly as an epilogue to his previous techno tracks. Ethereal as ever, Inigo Kennedy offers us another masterclass in out of the box production techniques in soulful electronic music.

Nomadico's "Shards" remembers the future of Techno beginning with restlessness and urgency. A time where disco, funk, hip-hop and electro rocked hood parties via boomboxes, DIY recordings and sound systems.

Our culture has since been shattered into shards that must be reconstructed, reshaped, remixed and reconnected. The A-side launches with the broken techno of “Somos Cosmos” then onto the hi-tech funk of “Antivenom” and “Volcanismo” followed by the b-boy breaks of “Radiotron”.

The B-side explores UR inspired electro on “Disconnected” and “Electroreceptor” followed by dark and moody “Hyper Cypher” and “Tlalocan”.

Pitch Dark is a new VA series brought to you by Berlins Pure Hate Trax. For this the 1st in the series they invite 3 new Artists to the label but by no means new to the scene in Codex Empire, Maedon & 7CIRCLE. Also making a welcome return after his debut on VHXX1 is STRISC. Codex Empire – Since 2014, British born, Vienna based Codex Empire has built an international reputation for dark and intense techno productions and live shows. Combining this background in dark electronic music with heavy rhythmic elements makes Codex Empire an intense and simultaneously danceable experience both live and on record. Codex Empire has performed over 100 live shows across Europe, Japan, Korea and Canada, as well as numerous appearances in Berlin at Berghain, Tresor, Arena Club, Suicide Circus and BoilerRoom. Maedon – A native of notoriously grimy Baltimore who spent some seasons in filthy Philadelphia learning the craft, her arrival in New York City circa 2018 signalled a shift in development, one confirmed by the emergence of her Maedon moniker and her partnership with Brooklyn/Berlin techno powerhouse Sonic Groove and its head Adam X. Fast forward three years to Berlin, two albums, a residency at Tresor and an entire world later, Maedon forges ahead to the next phase of a rapidly building career. Assuring her future as the world falls apart, Maedon’s bracing sound and undeniable skills are a story now unfolding, with its beginnings already written in grit.
7CIRCLE – At the helm of Destroy to Rebuild, 7CIRCLE is a musical project without boundaries. Drawing from post punk and metal roots, 7CIRCLE navigates across all genres including Techno and Industrial without compromise or frills. The journey through the discography of 7CIRCLE is a fascinating path filled with darkness and aggressive sounds which are sometimes embellished with a melancholy touch to satisfy lovers of strong emotions. STRISC. – Hailing from the East Midlands, UK and residing in Berlin for the last 8 years, STRISC. is an Artist, DJ & Label Owner who has been making waves due to a relentless output of no-compromise productions that have garnered him the respect and attention of Techno aficionados and peers alike.

Welcome to ‘Hardcore Heaven III’, the third in Scuba's series of classic hardcore-inflected vinyl EPs further develops the themes, from acid house to jungle, established on the first two installments.

Hardcore Heaven III ups the tempo from the first two EPs, with a focus on early Jungle on ‘Truth’ and ‘Give Up Everything’. Meanwhile, ‘Riding Hi’ and ‘Pocket Rocket’ add a 4/4 kick and samples possibly best described as… borderline?

Scuba has also announced D:U:LIVE, a series of live shows inspired by his acclaimed ‘Digital Underground’ mixtape and ‘Hardcore Heaven’ vinyl EPs from last year.

This is Ric aka DJ Robert Smith.

THE TWO CLASSIC AND HIGHLY COLLECTABLE INEVITABLE SINGES PLUS RELATED PEEL SESSION RECORDINGS. CAPTURING THE FIRST TWO YEARS OF DEAD OR ALIVE’S CAREER. ON BERRY-RED VINYL! A SEQUEL AND COMPANION RELEASE TO 2023’S CRITICALLY AND COMMERCIALLY SUCCESSFUL ‘LET THEM DRAG MY SOUL AWAY’.


Having been ‘discovered’ working in Liverpool’s Probe Records during the punk rock explosion of the late 1970s, Pete Burns quickly found himself fronting his very own band, Nightmares In Wax, who quickly mutated into the more familiar Dead Or Alive.

A star was born. But prior to pop superstardom, tabloid-tantalising celebrity and his later revival and recognition as an icon of gay punk and pop culture, Pete led Dead Or Alive into far darker waters, as one of the earliest explorers of the post-punk Goth scene.

Captured on two remarkable 7” singles originally released on Liverpool label Inevitable, the band also caught the attention of the
ever-reliable John Peel, and recorded material for his seminal BBC Radio One programme. ‘Running Wild’ compiles those early
singles and related Peel Session highlights, bringing the latter to vinyl for the first time. Pressed on berry red vinyl,and housed in
a cover photograph by Dead Or Alive’s then manager Francesco Mellina, ‘Running Wild presents an early glimpse at the
phenomenon Pete would become, and a long overdue back story accompaniment for fans and collectors alike.

Retina.it and Crisci come together again, after releasing a 12 inches on Semantica last year, they both have a long story in the techno scene. Retina.it are known for QMen project with Rino Cerrone they started the techno Napoli scene, and releases music on Marco Carola Design Music and on Gaetano Parisio Conform to name a few labels..
Domenico is continuing the authentic Napoli techno sound, he is know for the releases on L.I.E.S Records, Jealous God of Silent Servant, Semantica and many others..

inc. Tedd Paterson Remix

The final release of the year on his Afroterraneo imprint, Kiko Navarro presents a brand new version of 'Mama Calling', his timeless collaboration with Buika, featuring a remix by Ted Patterson.

Originally issued in 2004, Kiko Navarro and Buika revisited the 'Mama Calling' while preparing for a live show in November 2023, and their new version of the song became a highlight of the concert. Apart from those distinctive horn stabs, this is a brand new update of the energetic and life-affirming song, perfect to help propel dancefloors into the New Year and beyond.

Around 2003 Kiko Navarro first met House legend Ted Patterson, playing together with him at Pacha Ibiza, and Ted was so enchanted by 'Mama Calling' that he asked for a pre-release copy then and there. It took a few years for Ted to remix the song,
and it was then only ever released as part of a compilation in 2010. Finding favour with DJs across the globe, including heavy rotation from Honey Dijon over the years, it felt like the right time for a new mixdown and master for Ted's classic remix too,
which we present here in single form for the first time ever.

inc. Tedd Paterson Remix

The final release of the year on his Afroterraneo imprint, Kiko Navarro presents a brand new version of 'Mama Calling', his timeless collaboration with Buika, featuring a remix by Ted Patterson.

Originally issued in 2004, Kiko Navarro and Buika revisited the 'Mama Calling' while preparing for a live show in November 2023, and their new version of the song became a highlight of the concert. Apart from those distinctive horn stabs, this is a brand new update of the energetic and life-affirming song, perfect to help propel dancefloors into the New Year and beyond.

Around 2003 Kiko Navarro first met House legend Ted Patterson, playing together with him at Pacha Ibiza, and Ted was so enchanted by 'Mama Calling' that he asked for a pre-release copy then and there. It took a few years for Ted to remix the song,
and it was then only ever released as part of a compilation in 2010. Finding favour with DJs across the globe, including heavy rotation from Honey Dijon over the years, it felt like the right time for a new mixdown and master for Ted's classic remix too,
which we present here in single form for the first time ever.

Okain returns to Talman Records with a four-track EP, offering a glimpse into his two-decade journey as a producer. Continuing his legacy of providing DJs with robust dance floor material, this EP stays true to form.

Opening the EP is "Wake Up," a tribute to early 2000s tech house, featuring crisp percussion, sharp stabs, and haunting vocals. Following is "Take Me Up," capturing the essence of UK garage with its thick Reese bassline and distinct vocal hooks.

Turning to the flip side, the EP ventures into darker realms with "Secret Science," blending dub-inspired synths with a weighty sub bass, perfect for late-night atmospheres. Closing the journey is "Swing Theory," a groove-driven track fusing minimal house elements into its infectious rhythm.

Remastered Reissue des bahnbrechenden Israel Vibration-Albums "Strength Of My Life" von 1988 mit den Hits "Cool And Calm", "Pay Day" und "Live and Give", die Bestandteil aller ihrer folgenden Welttourneen sein sollten. Begleitet von der legendären Backing-Band The Roots Radics, wurde das Album von Doctor Dread für das Kultlabel Real Authentic Sound produziert und von Jim Fox im Lion & Fox Studio abgemischt. Remasterte Auflage im CD-Digipak und auf schwarzem 180g Vinyl.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

Since 2019 Demdike Stare had been playing edits of Dolo Percussion’s bare-boned breaks in their DJ sets, eventually sharing them with Dolo’s Andrew Field-Pickering (Beautiful Swimmers, boss of Future Times) and fomenting a creative fusion that hits at the square root of their shared tastes for unruly, deadly rhythms. In a transatlantic back ’n forth - or what Kodwo Eshun termed a double refraction - they juggle the rudest aspects of UK hardcore, as derived from electro, breaks and garage-house - that would feed into Dolo’s pool of sound, and return to the UK via the likes of breakbeat wizard Karizma, who was a key touchstone for the whole late ‘90s broken beat movement key to Demdike’s tastes.

Still following the thread? It’s not that tricky - both US and UK operators favour breakbeat music more than anywhere else, and this devilish hook-up is the epitome of a conversation ongoing for generations now. At each parry, the three cuts here are exemplary of the way DJs, producers and dancers on both sides of the pond have pushed each other to new heights in a feedback loop designed to make the dance throw the maddest shapes.

‘DOLO DS 1’ racks up a full clip of flintiest breakbeat hardcore, pivoting gasping samples inna dervish of ruffneck syncopation, ruggedly distinguished from the pitching, gritty drum machine chicanery of ‘DS DOLO EDIT 1’, and their super crafty sidestep into the offbeats, hingeing around ghost snares and practically spectral levels of percussive suss in ’DOLO DS 2’ which basically sounds like a prime Autechre tumbling thru dub.

With releases that have been heavily rooted in Glasgow's Southside, Full Dose take things international for the next release and invite Jamaican dancehall artist I Jahbar (SKRS, Duppy Gun) to showcase their talents over two versatile Brollachan productions.

Smokin' is a celebration of marijuana in the truest sense, with I Jahbar's potent delivery perfectly connecting to the bouncy dance floor riddim.

UFO is an altogether different prospect, the spaced out percussive production serves as a blank canvas for I Jahbar to make a call for peace, unity and love to overpower the corrupt forces at large here in 2023.

To close on either side are dubbed out, free-form remixes from Lvchessi, Full Dose's brother in sound."

Plafond continues, taking center stage after the mother label BAKK ceded. Here, two long-time collaborators, Ekolali, originating from Sweden, and Tala Drum Corps, from the Netherlands, await their returns. The former reappears with a characteristic approach earlier heard on 'Doggerland'. The latter did multiple dance releases yet now debuts for this series, expanding on his stylistic spectrum. Despite shared tempo, the energies of the track are each of their own. Pulsating with energetic urgency, Ekolali, towards hypnotic movement, Tala Drum Corps. 'Totem Mollusca' shoots for the sun, like a budding landscape, yellow rays, waterdrops - kraut-inspired yet club-like without seeking a climax. 'tokyo subway' has a marimba-ridden, timeless approach - a clock-ticking, crude atmosphere, as a dream long passed, slowly ascending. Known for its two-sided, two-songs approach, Plafond offers two artists or artist combinations the freeform room for exploration and elongation of their respective sound and practices. This is the eighth in the series.

'Sounds From The Northern Hemisphere' is a collection of live-recorded takes, registered between 2021 and 2023. The Icelandic extraterrestrial scenery was the main inspiration for this work. Similarly to the nature of each landscape, every composition was crafted with a genuine and spontaneous approach, entirely avoiding digital instruments.

A methodical sound research was enacted, exploring the analog behaviours of classic and modern machines. The result is a minimalistic and intense merge of sounds: simple, but meaningful.

Mood Child Presents 'Various Moods Vol. 2' VA; six multi-mood tracks from artists including DJ Sneak, Antss, Marian (BR), and more.

Mood Child, the brainchild of Manda Moor and Sirus Hood, is back with ‘Various Moods Vol. 2’, a captivating collection of six tunes, each possessing its own distinct mood and power.

The VA kicks off with ‘Pakit Ban’ a timeless percussive and funky anthem. Brazilian talents Marian (BR) and Freenzy join forces to create this highly requested track, which has graced not only Manda and Sirus’ sets but also those of Jamie Jones and The Martinez Brothers.

House legend DJ Sneak returns to Mood Child with ‘Wemen’s Groove’. Prepare to be hooked by Sneak’s bouncy rhythms and to feel a masterclass with the massive buildup and incomparable vibe. Making his debut on the label, Barcelona-based artist Dafgal delivers ‘Gozando’. This high-energy tune features a universal groove and a captivating female vocal that will undoubtedly get anyone in a good mood.

UK rising star Antss drops ‘La La Lala’, a simple yet immensely effective track. Its powerful bassline, combined with playful voices, is tailor-made for electrifying crowds.

Brazilian duo Rokke & Techin present ‘Diamonds’, a shiny gem. Its addictive bass-led loop is complemented by an unforgettable bubbly synth, leading to a drop that etches memories.
Riffel & Jack Baron’s ‘Flute’ boasts an irresistible groove, complete with wonderful flute melodies. It’s auditory candy for discerning listeners.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

DJ Support: Danny Howard, Pete Tong, Sarah Story, Triple J, Groove Armada, Jamie Jones, Marco Carola,Nic Fanciulli, Sam Divine, Carlo Lio, Mat.Joe, Todd Terry, Jansons, Eskuche, Moon Boots, Format:B, Low Steppa, Robosonic, Dantiez Saunderson, Charlotte Van De Peer, Dario D’Attis, Shiba San, Dennis Cruz, Pirupa, DJ Rae, Danny Tenaglia, Rene Amesz, Juliet Fox, Ashibah, Boris, Carly Wilford, Booker T, Dateless, Melvin & Klein, Paco Osuna, DJ Lora

Nothing Else Matters is proud to bring an exciting new vinyl from HoneyLuv who makes her debut on Danny Howard’s imprint, teaming up with New York DJ, producer, singer-songwriter and vocalist Roland Clark for their brand-new single, ‘This Is My Life’. Crowned Radio 1’s Future Star of 2023, HoneyLuv has taken the Dance scene by storm in recent years with support from Seth Troxler, The Martinez Brothers, Nicole Moudaber, Kevin Saunderson, Maya Jane Coles, Loco Dice, Idris Elba and more, with releases signed to Black Book, Insomniac, Tuskegee, Three Six Zero and more. On the other hand, Roland has worked and co-produced music with many of the greats, including Fatboy Slim, Mark Knight, Todd Terry and Bob Sinclair, with his vocals considered the “voice of House” and one of the rare few that can bring you an electrifying DJ set while getting on the mic and giving you a performance unlike no other. Making for the perfect pairing, ‘This Is My Life’ is set to propel both artists to even greater heights and will surely be a firm favourite at clubs and festivals worldwide this year. Kicking off the B-side is a killer rework from the legendary Carl Cox who brings his A-game with this one infusing his signature grooving basslines and high-energy, hypnotic percussive grooves. Rounding off the package, Bontan’s rework delivers organic drums and captivating Afro-House rhythms catapulting the track to new audiences and new heights.

Toronto-based artist and co-boss of Parallel Minds, Ciel, known for her distinctive, precise, playful, and intricately crafted electronic productions, delivers a vibrant new EP on SUZI titled "Sada’s Dream". Originally performed during a live set at MUTEK Montreal, Ciel has refined these initial ideas into a five-track journey that showcases her unique sound palette, marked by meticulous attention to rhythmic and melodic interplay.

The EP opens with "Be That As It May," setting a contemplative tone with complex rhythms and a haunting flute-like melody that gradually unfolds into a brighter, expansive atmosphere.
Following this, the second track "Viral Load" shifts towards a tougher sound, featuring digital bleeps and arpeggiators that swirl around modern dubstep elements, creating a dense auditory texture.

The third piece, "Divide and Conquer," blends airy textures with a robust, infectious bassline and glitchy, compelling melodies, demonstrating Ciel's ability to balance delicacy with power.
Moving forward, "Bubble Gum Pop," the fourth track, adopts a clubbier vibe with its vigorous house vocals and lively breakbeat drums, offering a sharp contrast to the preceding tracks.

Concluding the EP is "Sada's Dream," the title track. This fast-paced, playful composition marries minimalist rhythms with whimsical bleeps and snippets of vocals, ending the EP on a note that feels both conclusive and invitingly open-ended. "Sada's Dream" is a sonic tapestry that weaves together the subtle complexities of Ciel's signature style with a narrative that is both intimate and expansive, capturing the essence of her artistic vision.

2023 was a breakthrough year for EABS in many ways. It was all thanks to the well received, fully self-produced album entitled In Search of a Better Tomorrow, recorded in collaboration with the Pakistani band Jaubi. EABS' forthcoming sixth album is a return to their roots – literally and figuratively. It is an in-depth study on rhythm, which materialised in the form of the album titled Reflections of Purple Sun.

The back to the roots part not only manifests itself in the lack of guest instrumentalists, but also in a renewed focus on the history of Polish jazz. The band's debut album Repetitions... was dedicated to Krzysztof Komeda. This time, the band picked up the entire Purple Sun album, which Tomasz Stańko recorded half a century ago. From the POV of Purple Sun fans, a hard-to-find and somewhat forgotten album, it may seem like a doomed undertaking. However, in order to pay tribute to one of the most iconic figures of Polish jazz, it was worth embarking on this mission and attempting to engage in a non-verbal conversation with the Slavic spirit that Master Tomasz Stańko undoubtedly was.

You can learn more about Reflections of Purple Sun through the comprehensive booklet accompanying the record. The cover art was created by the label's regular collaborator, Animisiewasz, whose design pays tribute to Pia Burri's original Purple Sun concept. Release date is 10 May 2024.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

Two versions available - limited hand numbered (100 copies) of red vinyl and normal black vinyl version.

"Balance", the artist's third album, is a return to the roots, i.e. towards club sounds - on the album you can hear several amazing guests - Dominik Płonek, YANA, Dizkret, Runforrest, Einar Indra from Iceland and DJ Eprom. A unique mix of artpop with sophisticated electronics, which Envee brought together with its amazing mixing and mastering. For dessert, Barrakuz, which took the title "Balance" from Wojtek Koziar's photo to a new dimension with its collage. Everything is perfect on this album.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

repressed !