Cerca:rolling house

Wildly acclaimed Grammy-winning artist Flume returns with a
new album, ‘Palaces’, on Transgressive Records.

‘Palaces’ began to take shape when Flume returned to his
native Australia after struggling to write music in Los Angeles at
the beginning of the pandemic. Settling in a coastal town in the
Northern Rivers region of New South Wales, Flume quickly
found the inspiration he needed through reconnecting with the
nature around him - the rolling hills, walking around barefoot,
the green colour the sky turns before a big storm, growing and
eating his own vegetables, the smell of rain.

He and his neighbour and long-time collaborator, the visual
artist Jonathan Zawada, became fascinated by the local wildlife,
in particular the birds, collecting field recordings that ultimately
worked their way in to the album. As Flume continued to forge a
strong connection to his surroundings, the album he wanted to
make started to form, eventually adopting a title to properly
highlight the luxury and magic of the natural world.

‘Palaces’ is his most confident, mature and uncompromising
work to date, a true testament to nurturing the relationships that
make us whole and bring us peace.

The album features a host of vocalists and collaborators, its
cast list spanning new and household names from around the
world - breakout US star Caroline Polachek, British polymath
icon Damon Albarn, Spain’s Vergen Maria, France’s Oklou and
fellow Australian Kučka, who returns following her standout turn
on ‘Skin’.

Deluxe CD including two exclusive bonus tracks in 6-panel
heavyweight board digipack with tube pocket and 8-page
booklet. Matte finish on digipak board with glossy spot UV
finish.

CD digipack with poster insert.

Black 180G double vinyl in widespine jacket with full colour
centre labels and digital download card.

Debüt-Soloalbum der Multiinstrumentalistin und Leadsängerin Nicole Miglis von Hundred Waters. Die Songs für ihr Solo-Debütalbum Myopia entstanden stückweise: in eine neue Stadt reisen, Feldaufnahmen sammeln, eine Idee entwickeln, verfeinern und in immer neuer Reihenfolge wiederholen. Viele der Songs entstanden innerhalb weniger Wochen, während sich die reichhaltige Instrumentierung geduldig entwickelte, als Miglis an den vielschichtigen Klanglandschaften herumtüftelte. Myopia ist ein Album, das die komplexen Überschneidungen von Sehnsucht, Melancholie und Identität erforscht und gleichzeitig ihre faszinierende Fähigkeit unter Beweis stellt, experimentelle Produktionen, Popmelodien und klassische Formen zu einer ganz eigenen musikalischen Sprache zu vereinen. Die Veröffentlichungen von Hundred Waters wurden von zahlreichen Medien gelobt, darunter Pitchfork, Rolling Stone, NPR, New York Times und viele mehr. Für ihr erstes Soloalbum Myopia war Miglis entschlossen, alle Songs selbst zu schreiben, zu produzieren und aufzuführen. Obwohl viele der Tracks noch in der Zeit mit HW entstanden, fand sie nach ihrer Welttournee als Leadsängerin des für einen Grammy nominierten Elektronikmusikers Bonobo in den Jahren 2022-23 neue kreative Kraft und finalizierte ihr Solowerk. In Myopia kristallisiert Miglis ineinander verwobene Zustände von Besessenheit, Liebe und Verlust neben einer gleichmäßig eklektischen Reihe von Klängen, sowohl organisch als auch digital. Das Album ist der Höhepunkt eines lebenslangen künstlerischen Schaffens, das Momente aus ihrer gesamten Karriere in ihrer bisher üppigsten und überzeugendsten Sammlung von Songs zusammenfasst. Es vermischt Texturen und Genres mit Instrumenten und Einflüssen - von Klavieren und Streichern bis hin zu akustischen Harfenklängen und ätherischen Loops - und überbrückt die Kluft zwischen Klassik und Moderne mit einem Album, das Fans von elektronischer, orchestraler und Pop-Musik gleichermaßen faszinieren wird.

2024 Reissue

EQ is a legend in the game of hardcore and rave. The former in-house engineer for Formation Records and DJ SS and the head honcho at F-Project Records, this guy has been involved in so much of the scene’s history. But around 1994 he stopped producing under the name EQ and moved onto other things. That is until now. He is back once again and reinvigorated by the popularity of the rave repress culture and has started to write new material… but in the style of the early 90’s, using lots of old skool hardware to produce his music to keep that authentic UK sound.

His first EP for nearly 30 years takes us right back to the raves of the Midlands, the music of an era. Creative sample usage, rolling breaks, kick drums… melodies and rave stabs! This EP has something for all. Not only that, he has completed his follow up EP already which is due out in 2023 and is as equally impressive.

Back again, the renegade master!

London-based producer/musician/DJ act Dub Fu Masters provides a triple delivery of high-quality funk-heavy, left-field jazz/fusion/house/tripped-out collaborative tracks featuring “NJB” with four-piece band Q3 and “Mr Frosty” with fellow London producer Son Of Abe. The EP’s three productions span a versatile sonic range of ear-wiggling treats, “Mr Frosty” is an acid-focused 303 workout, with a deeply rolling groove and hypnotically enticing bass layer. “NJB” explores a broken beat structure with the delightfully funky live band instrumentation of Q3, double bass, sax and a metric ton of groove.
The solo track “Herb Was Created” dives into the dub/reggae mood, holding a real tasty sound of old-school saturation and deeply enticing bass. Support from Âme, Damian Lazarus, Roger Sanchez, Paco Osuna, Sabo, David Guetta / Steve Aoki / Bakermat, Timo Maas,
Laurent Garnier, and Steve Lawler, Francesco Mami, Silicone Soul, Alex Taylor, Peter Kruder, Chaim, Bolam, Matisa, sim0ne, DJ Phantasy, Dan Marciano

Hole In One is a classic progressive techno-trance track from the early nineties, created by Marcel “Hole In One” Hol. It was a massive worldwide dance hit and was supported by famous artists such as Paul Oakenfold, Ferry Corsten, Speedy J, and Tiësto. The song even reached #1 on the UK Dance Chart in 1997. The Live At Paleis Soestdijk Mix (also featured on the 12”) was the global dance version that utilized a simple and unmistakable modulated five-tone sequence Nord lead line, and the sounds of cheering crowds. Canadian DJ and producer Jerome Robbins brings the dance-floor heat with his more recent energetic, upbeat rolling bassline melodic house version.

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


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Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

With just two guitars and a drum set, Hound Dog Taylor and the Houserockers created a rocked-out, hypnotic, ultra-danceable sound that is as emotionally powerful and wildly energizing today as it was the day they produced it. This GRAMMY-nominated album was released shortly after Hound Dog's death and features the Houserockers' magic captured "live" in club performances, full of raw energy and high spirits. Over 90,000 sold worldwide. "Natural for partying, drinking and talking loud"--ROLLING STONE

It's already hard to describe what Deerhoof sounds like. So we'll skip that part and say this sounds a lot like Deerhoof with a different singer. And in keeping with 30-year Hoofian tradition, melodies soar, big hit earwigs abound, harmonies are complex, and keys change frequently and unexpectedly. Arrangements are in a constant state of impatient agitation. Emotions run high but delivery is usually a falsetto deadpan. We Sang, Therefore We Were is grief delivered in code. Greg plays everything save for a few birds who join in singing now and again. He keeps the instrumentarium severely limited, the sound shambling and anti-slick. It turns out Greg is a really good bass player and guitar player, if a bit more rudimentary and slicing compared to his Deerhoof bandmates. He does play more angry guitar solos. But don't expect another Chippendale/Saunier speed-drum freakout; the songwriting is gorgeous and sophisticated, and drums are almost an afterthought. Here, song is Queen. The singing is high and whispery, tending towards the three-part harmony. What we're saying is: We Sang, Therefore We Were sounds a bit like Deerhoof fronted by The Andrews Sisters. This is a peek inside the mind of one of indie rock's most celebrated drummers, many of whose fans may not even realize the relentlessness of his musicianship and compositional prolificacy. Mozartian chords and sounds insinuate themselves here and there on this record, finally taking over in a big climax at the end, when the drums break off unexpectedly into a laugh-or-cry orchestral outpouring that ironically may be the rawest part of a very raw album. "Satomi, Ed, John and I were chatting between shows in Austin in early December. They encouraged me to make a record on my own. With no one to please but myself, it came together way faster than usual. It was basically done by the holidays. I had been excited by the announcement that the new Rolling Stones record was going to sound 'angry.' I thought, 'Yes, I'm angry too.' But Hackney Diamonds turned out more like cotton candy than punk rock. So I went back to Nirvana. I always loved the catchy melody over massive distortion, the way their songs refused to conform to simple major or minor scales, the dark sarcasm which still resonates in this age of phony blue-check-washing of fascism." The album cover is all text, penned by Greg on the familiar topic of interspecies absurdist operatic anti-Cartesian revolution. The songs' lyrics are all drawn from this epic poem. White House spokespersons are recast as The Queen of the Night from The Magic Flute, The Queen of the Night is recast as a mockingbird singing all night in a battle for survival, and ultimately the mockingbird is recast as a campy drag artist taking pleasure in her own aggressive, tireless music-making.

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

Fledgling label Shadow Pressings already made a mark with their debut release in March entitled the Chicago EP, garnering love from Hunee, Terry Farley and Luke Solomon to name a few.

Striking while the iron is hot, the label are serving up four more heavyweight club tracks which include acidic edits, crunchy deep house, 808 electro grooves and dusty breakbeats.

Lead track Find A Friend jacks up the perennial classic with 808 rims and toms and additional synths but keeps things loopy and rolling.

Holding One Shoe continues with the 808 theme whilst injecting a healthy dose of acid resulting in what sounds like a long lost Yazoo B side filtered through a lysergic lens.

Train Of Fools decontextualises a well known acapella making for a deep and techy basement jam which will keep the floor moving and the speaker pumping.

Closing out the EP we have More Music In The Night, which chops up some familiar samples and layers up an 808 electro groove and breakbeats for a fresh take on early 90’s house.

Placid aka Paul Wise is chief in command at ‘We’re Going Deep’ – an expanding online community and record label, born from lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988. He’s spent the last 3 decades moving heads and feet at venues, parties and fields across the UK and beyond.
On a mission to share and release new music via his label, you’ll find only the best in Acid, Electro, IDM, Techno and Deep House for the dance floor, front room or your headphones making the cut. For the 10th and final edition of his much prized various artist series, he unearths more machine fuelled magic: offering another set of equally excellent music from stellar talent.
Starting the dance, Dutch maestro Boris Bunnik dons his Versalife mantle to opens with ‘Skirmish 101’. Setting the machines to cycle, Bunnik fires a hefty slab of bass to bring down the walls whilst pristine robot like rhythms set your body in motion, all enveloped with sparse synthesis and shimmering effects. Crashing the joint with ‘Acid Baby’ - The Acid Pimp drops a no holds barred, riotous 303 workout that’s nothing short of a tour de force in exorcising the power of Roland’s most celebrated silver box. Putting pedal to the metal with drums and reverb, a smiley face or grimace is guaranteed!
Longtime collaborators Jamie Anderson & Owain K reset the dial on the flip with ‘Basement Dub’, a house paced workout that glides at a steady pace. Evoking the spirit of Mood II Swing whilst immersed in the depths of an underwater realm. Ending on the upbeat note of Konerytmi’s ‘Aamunkoitto’, the Finnish producer reflects a breezy disposition with a joyful melody, step-to electro beat and rolling acid bassline – all perfectly balanced to keep your calm and head out in the right direction, a great way to sign off on this highly collectable series.

Rare debut LP by the eccentric Peruvian singer Jean Paul "El Troglodita", known for his wild performances and extreme way of life. Enrique Roberto Tellería made his Peruvian television debut in 1965 under the stage name Jean Paul El Troglodita and wearing an imitation leopard skin suit. He would switch from melodic calm to shouting wildly or suddenly drop to the floor on his knees and smash the furniture like crazy. At the age of 19, DisPerú signed him to the label on the strength of these early performances. His first single included a freely translated version of 'Secret Agent Man' in Spanish. He began to work on the eleven cover versions that would feature on his first LP immediately, writing all his own lyrics and accompanied by the beat band Los Steivos. Despite the predominance of English beat music in Peru, the album only included three songs directly related to the British invasion: 'Bus Stop' by The Hollies, also played in raga rock style; 'Paint it Black' by The Rolling Stones; and 'The House of the Rising Sun', which follows the arrangement recorded by The Animals. So most songs come the American songbook. Apart from 'Tema de El Troglodita' (a versión of 'Secret Agent' by The Challengers), we find the bluesy 'Mustang Sally' (Sir Mack Rice). Two other US numbers, originally performed with orchestral accompaniment, were adapted to fit the rock band format: 'Poor Side of Town' (Johnny Rivers) and 'Take Me to the Moon' (Kaye Ballard). 'El verdadero amor' ('True Love'), an uncredited version is in a similar vein. The Spanish song 'Negro es negro' (Los Bravos) and the Brazilian track 'Que todo se vaya al infierno' (Roberto Carlos) also feature on the LP. El Troglodita's association with the so-called nueva ola, indicated on the back cover, needs clarification. In Peru, nueva ola was a mixed bag rather than a specific musical style and encompassed slow rock, twist, bossa nova and all the styles that the record industry produced to tame the wild rock 'n' roll impulses of teenagers in the early sixties. The Peruvian artists that performed these inoffensive Spanish adaptations of Paul Anka, Neil Sedaka or Frankie Avalon, were presented as successful models of youth culture. This was until 1964, when the Beatles with their mop-top haircuts hit the charts, vindicating rock 'n' roll and imposing the group format over the soloist model. Meanwhile the press continued to call any youth music recorded during the rest of the decade nueva ola. Jean Paul noted these distinctions early on and distanced himself from it in several statements. He saw his performance more in a style as a solo artist as following in the footsteps of e.g. Los Saicos. His 'hippie' lifestyle got him arrested by the new de facto military government in 1968, who accused him of promoting drug consumption and corrupting the Peruvian youth. The charges were soon dropped but his reputation was tarnished, and he ended up emigrating to Central America. The album includes Spanish sung versions of British beat songs and covers of the American songbook as well as various international hits.

Nachpressung: Cloudy Red & Clear 2LP, Vinylversion im Klappcover, mit bedruckten Innenhüllen, Etching auf D-Seite & DLC! "The reigning dark priestess of goth-scarred art rock." - Rolling Stone "Hiss Spun" ist das sechste Album von CHELSEA WOLFE und der Nachfolger des 2015 gefeierten "Abyss". Aufgenommen von Kurt Ballou (CONVERGE) wurde das Album als emotionale Säuberung konzipiert, ein Mittel, sich mit dem Tumult der Außenwelt auseinanderzusetzen, indem es die Komplexität der inneren Unruhen erforscht. "Ich bin im Widerspruch zu mir", erklärt sie. "Ich war es Leid zu versuchen zu verschwinden, deshalb wurde das Album sehr persönlich. Ich wollte mich mehr öffnen, aber auch meine eigene Realität schaffen." "Hiss Spun" bietet außerdem prominente Gitarrenbeiträge von Troy Van Leeuwen (QUEENS OF THE STONE AGE, FAILURE) und einen Gastauftritt auf "Vex" von Aaron Turner (OLD MAN GLOOM, SUMAC). Während frühere Alben wie ,The Grime And The Glow" und ,Unknown Rooms" auf der Intimität reduzierter Folk Musik basierten oder wie bei ,Pain Is Beauty" und ,Abyss" mit dem pochenden Puls ergänzender Elektronik operierten, wartet ,Hiss Spun" mit einer Palette von ächzendem Bass, hämmerndem Schlagzeug und krachender Verzerrung auf. Einen Teil seiner Aura zog es aus dem kalten Weiß des Winters in Neuengland, obwohl das Herz des Albums aus den Umwälzungen in WOLFEs persönlichem Leben entstand und ihre Verwundbarkeit, Wut, Selbstzerstörung und dunkle Familiengeschichte preisgibt. "Das Album ist zyklisch, genauso wie ich und meine Stimmungen", sagt sie. Es stellt für die Sängerin eine Art Exorzismus ihrer selbst dar.

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.
‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.
Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.
When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.
Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.
‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.
This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

Repress!

Landing next on Toolroom is our most recent instalment in our 4-track vinyl sampler with some of our biggest recent releases including Kurd Maverick vs Adeva, Friend Within, Retna, Toolroom head-honcho, Mark Knight and label favourite, GW Harrison.

First up is Kurd Maverick vs Adeva who makes a huge return with the infectious 'In & Out My Life'. A straight up cut of 90's house & rolling tech house influences mixed into one, sampling cuts from the feel-good classic 'In & Out My Life' by Adeva, turning the original on its head.

Next on the sampler is fresh heat incoming from DJ and producer Friend Within, the artist behind previous toolroom hits 'Lonely', 'The Truth' and 'Waiting'. Having been a secret weapon of choice for the likes of Paul Woolford, John Summit, Dombresky and Danny Howard to name a few, 'Monkeys Bars' has been bubbling for months and is now set to blow!

London based producer Retna returns to the label with Mark Knight as the pair deliver a debut collab that's been carving up dance floors worldwide in 2022. 'What I Need' takes things to the next level, focusing on Retna’s raw, arpeggiated synth line that cuts through the records tough, chunky bassline and groove. Throw in Mark Knight's magic touch for creating top-quality, club focused productions that'll tear through any system it's played through, and you'll get their latest outing – 'What I Need'.

Abode resident DJ and frontrunner GW Harrison completes the package with latest outing, ‘Feels Good’, enlisting the powerful voice of Laura Davie, the vocalist behind some of Toolroom’s most popular releases from Mark Knight’s ‘If It’s Love’ to Illyus and Barrientos’ ‘Disco Hearts’. Feels good’ offers a summertime piano house belter featuring a staunch bassline and pumping groove that pushes that euphoric, hands in the air feeling to the max.

Four killer cuts that you will not want to miss, this is ‘Toolroom Sampler Vol. 3’!


Radio:

Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Alongside plays on Kiss Fm, Toolroom Radio, Sirius Xm, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse Fm, Select Radio, Tomorrowland Radio


DJ Support:

Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Dombresky, Gorgon City, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa

Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it.



Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

Following the resounding success of Rythm by Nature's first release by Nail, the imprint's second outing, "Deep Cuts", builds upon the previous momentum and introduces label owner SaPu for his first solo EP. "Deep Cuts" features three groove-drenched original works and a foot-stomping remix from Berlin-based groove master and sound wizard Tripmastaz.

Drawing from his 15+ years of experience in the scene, "Deep Cuts" displays SaPu's impeccable production skills and evident passion for deeper house grooves and hypnotic rhythms — the ideal music for extended dancing marathons. The EP's first track, 'Roll Out' (A1), is a classic, tech-house-infused banger: funky bass, filtered samples, and snappy percussion elements. Tripmastaz's version, 'Don't Let Joe Change the Name Dub' (A2), adds new layers of depth to the original, infusing it with dubby, sample-based elements and warm chords. SaPu's inclination for old-school grooves shines through on 'Clappin Iron' (B1), delivering Detroit tribal vibes punctuated by stabby synths and rolling basslines. Closing off the EP, 'Keep it Trill' (B2) provides a relatively stripped-down approach, allowing SaPu to demonstrate his innate skill in dubby sample manipulation.

Accompanied by James Dewar on soulful vocal and bass duty and Reg Isidore underpinning their psychedelic blues sound with masterful drumming. Producer and former Procul Harum bandmate Matthew Fisher and Beatles engineer Geoff Emerick take on control room duties to help bring this stunning collection of songs together.

50 years later, these new mixes were overseen by Robin and include extended versions of the original album, newly mixed from the original master tapes. Cut at half-speed especially for this release, the album sounds better than ever. On the second disc, you can hear the trio amid a US tour supporting the album Live at The Record Plant, Sausalitoin May 1974available in its entirety for the first time and newly remastered from the original master tapes - the recording sounds as exhilarating as it would have for those in the room.

Bridge of Sighs (50th Anniversary Edition)- Newly mixed and remastered from the original tapes, cut at half- speed, pressed on 180g vinyl, and housed in a deluxe gatefold sleeve with testimonials and rare photograph.

Bridge Of Sighs by Robin Trower, released 17 May 2024, includes the following tracks: "In This Place ", "Too Rolling Stoned ", "Lady Love ", "Twice Removed from Yesterday " and more.

Re-issue coming soon! Gatefold w/ printed sleeves and etching on Side D + download card.
Hiss Spun is Chelsea Wolfe’s sixth album. Recorded by Kurt Ballou (Converge).
“When musicians have this intensity in them, they often get to it sooner and stay put. Ms.
Wolfe sounds like she’s using it by choice, not disposition; she can use different kinds of
darkness as colour or tincture." - NY Times
“The reigning dark priestess of goth-scarred art rock.” Rolling Stone

Warehouse Find!

As we hurtle towards our 200th Freerange release the quality output you've come to expect from Freerange shows no sign of faltering with Bas Amro bringing you an absolutely stellar EP entitled You And Me. Dutch wunderkind Bas has built himself a solid reputation through only a handful of releases on labels such as Wolfskuil, Kutchuli and most notably his 2011 EP Ten on Freerange which has gone onto become a stone-cold classic in the deep house mecca of Johannesburg. This long awaited follow up delivers on every level and if early feedback and crowd
response is anything to go by looks set to push Bas further into the spotlight where he deserves to be.
You And Me starts in a deceptively understated manner wrapping you in a shroud of warm, dubby stabs underpinned by a rolling groove that can't fail to draw you onto the dancefloor. Things stay deep with hints of Chandler and echoes of Basic Channel until the breakdown arrives, the filters roll up and the whitenoise
shines through bringing a new energy and dynamic to the track. A classic, timeless vibe which we're proud to be bringing you on Freerange. As with his previous release Ten, Bas works hard to deliver not one but two faultless originals so flip over for Across The Street featuring the vocals of Jennifer and you won't be disappointed. A simple, repeating six-measure synth hook drives the track and brings with it a lovely looseness and lack of obvious
structure. Kennifer's sparse, almost improvised sounding vocal drops heighten the sense of space and freefall effect making such a refreshing change to most of todays formulated and conventional house music. Last up is an amazing remix of You and Me from rising start Matt Karmil who brings his own unique and refreshing sound to the EP. Karmil's recent LP on PNN
won rave reviews from all corners and with just two other releases on Beats In Space and International Records Recordings he seems to have burst from out of nowhere but has certainly become hot property in the last 12 months. His forthcoming remix for John Talabot and Axel Boman under their Talaboman is immense and here he treads a similar path focusing on a raw percussion-heavy sound with very minimal tweaks and effects adding subtle colour and interest. These days it's very hard to breakthrough with an original, new approach to house
but Matt Karmil seems to have done it with ease.

Warehouse Find!

With Manuel Tur's Es Cub LP just out and winning high praise from all corners of the electronic music press we present you DJ's and vinyl aficionados with the second part of the two separate 12's highlighting Manuel's brilliant third album. As RA put in their review - 'This is among the most seductive collection of house tracks so far this year.'

In 2012 Manuel spent a year living in Ibiza, the birthplace of his father and somewhere he has always felt a strong connection with despite never having lived there. This period became something of a sabbatical, a year of orientation both privately and musically and despite managing to visit not one single club in his
entire time there the esoteric and cabalistic nature of the island clearly became a big influence.
Here in Part 2 things get off to a suitably raw and bumpy ride with El Soplo where a depth and certain majestic beauty are created from the simple, stripped back, rolling beats and flowing pads. Flux takes things in a more minimal direction with echoing percussion hits and plucked synth line giving a sense of space, the driving, the single note bass reminding us of the more techno side of say Ame or Baikal. Flipping over we have Basilia which picks up the tempo and pushes a single reverberating vocal hit to the front of the mix before we are introduced to the glassy chiming arpeggiations that have become Manuel's signature sound for this LP. Finally, El Dub goes for a subaquatic vibe with a slow pace and dubby FX allowing us to get absorbed in the foggy haze Manuel creates with his thoughtfully conceived
minimalism and minute attention to detail. Expect to be hearing much more from Manuel in the coming months. He has become
in demand for his mixing skills, working regularly with Andre Hommen for Objektivity, Shit Robot for DFA and Marcus Worgull for Innervisions.

Alex Andrikopolous AKA Lex (Athens) released his brilliant debut album Waving in 2022 on Leng and he now returns with an EP combining fine remixes of tracks from Waving alongside two new previously unheard cuts.

The remixes are undeniably special. Fittingly, the EP begins with the first of these, a sensationally sun-soaked revision of one of Andrikopolous’s most Balearic moments – previous single ‘Punta Allen’ – by former Nuphonic fusionists and FAR label founders Faze Action. The Lee brothers’ take is one of those sunset-friendly workouts that wraps glistening guitar licks, steel pan style motifs, Lex’s gorgeous lead lines, hazy electric piano solos and life-affirming keyboard riffs around rolling nu-disco beats and a new rubbery bassline courtesy of Robin Lee himself. It has the feel of a pool-side anthem in the making.

Just as potent is the typically quirky and hard-to-pigeonhole revision of ‘Prezend’ by Manchester maverick Ruf Dug. Here he offers up a genuinely revolutionary rework, re-imaging the track as a sparse-but-colourful fusion of vintage acid house bass, saucer-eyed piano riffs, dubbed-out synth sounds, jacking lo-fi drum machine beats and squelchy TB-303 tweaks. While fresh and undeniably contemporary, the remix has an alluringly nostalgic, retro-futurist vibe.

Clustered around these two top-notch revisions is a pair of previously unreleased Lex originals. He joins forces with regular collaborator Locke once more on ‘Libre De Amor’, an infectious chunk of, low-slung dub disco marked out by weighty bass, jammed-out electric piano motifs, spacey pads, intergalactic effects and mazy synth solos. Dotted with additional percussion hits and echoing female vocal snippets, it’s one of the pair’s most potent dancefloor workouts of recent times.

To round off a rock-solid EP, the Athens-based veteran blurs the boundaries between stripped-back, late-80s house nostalgia and nu-disco. ‘Super Awake’ boasts cowbell-sporting Chicago house beats and acid house inspired bass, on to which he’s layered all manner of colourful synth sounds, jangly piano stabs and spacey electronics. Throw in some typically immersive chords and progressively more psychedelic TB-303 motifs, and you have a genuinely triumphant conclusion to a formidably floor-focused EP.

Following on from 2022’s Sweat Your Prayers, Byron Yeates returns to Radiant Records with Time Machine, his second full release. The label head has established a signature production sound in an impressively short amount of time. Motifs teased in his previous output and that frequent his DJ sets are all at play here in a delightfully restrained fashion: Astral atmospherics, slick, pumping rhythms, playful basslines with skitting and flitting vocal chops are condensed into lush, club-ready arrangements that demonstrate Yeates’ deep dancefloor knowledge and razor-sharp production chops.

EP opener Liquid Sky drifts beyond the clouds and into the club for a hot and heavy hard-house hybrid workout: undulating low end, sumptuous stabs and ethereal pads are meshed together into a mature, modern any-time-of-the night club tool for discerning deejays and dancers alike.

The groove keeps giving-giving on Hyper-Hyper with stomping in-your-face drums, marching bass and vintage house themes stripped apart and put back together to form a track that sits comfortably in the sweet spot between contemporary techno and the more classic club moods Yeates’ has built a reputation for.
So too with Time Machine- the track’s swung bass and percs lay the foundation for a potent dance floor-ready number that touches on the classier strands of 90s tech and euro house, warped and reconstructed for 2023 dancefloors through Byron’s sleek and flirtatious sensibilities.

The EP rounds off with a collaboration Trip To Eclipse with fellow Irish trance auteur Spray. The result is a sophisticated exercise in groove control: Spray’s signature rolling bass sits delicately alongside Yeates’ vox chops and celestial synth moods to form a cutting edge, dreamy, trance-not-trance roller that concludes a sophisticated and refined statement of intent from Byron Yeates.

Freerange welcomes Italian via Berlin producer/DJ/label boss Enzo Elia for his debut on the label entitled The Lost Guitar Tapes. Enzo is someone who has been releasing consistently great music for many years, although
often hidden behind a myriad of pseudonyms and underground imprints. For starters he's responsible for a mysterious yet established and very excellent edits label as well as being a member of Balearic Gabba Sound System alongside Bjorn Torske amongst others. Following the philosophy of this collective, Enzo is also producing lovingly and respectfully created re-edits of long lost techno and house tracks as well as many new tunes
for influential labels including Golf Channel and Compost.
But for now we turn to The Lost Guitar Tapes and specifically the original mix of Drifting which opens up the release with a brilliant tension builder. A rolling bassline, crisp minimal drums and a subtly Middle Eastern-influenced melodic line give just a hint of mysticism to this jewel of a track.
For the remix we have none other than the Tel Aviv via Berlin producer Moscoman, fresh from his brilliant debut LP on ESP Institute and releases on Eskimo and his own Disco Halal label. Moscoman's organic, percussion- heavy sound and Middle Eastern roots make him the perfect choice to take
on Drifting and we couldn't have wished for a better outcome. He manages to inject his own identity to the track with newly recorded live guitar and bass parts and taking in elements of techno, new wave and house, he's created a sublime piece of dancefloor drama. Finally we have an alternate Dub version which lays down a firmer four on the floor, extra percussion and dubby stabs for a more driving atmospheric club tool.

Warehouse Find! Test Pressing

Pattern Select aka Milton Jackson and Show-B have gone well and truly back to the raw on this, their first collaborative work together and debut EP for Delusions Of Grandeur. Both producers have been busy on some top quality projects just recently with Milton Jackson remixing Recloose for Planet E and Show B producing for Robert Owens on Compost. The pair met at a party in Munich, promptly fell in love, and soon enough Pattern Select was born.

Kicking off Tale Of The Tape sees the pair go deep n dark on this low-slung groove where demonic laughter rides the driving hats and insesant crashes until the filtering arpeggiated synth line joins the fun. Tale Of The Dub gives us a stripped back, dub-infused version which goes a little lighter on the craziness of the first version but without losing any of the deep, hypnotic funk.

Cottam is a producer who will need little introduction seeing as he's been getting hyped from all corners of the electronic scene following a series of untitled vinyl only EP's on his own Cottam label. Brilliant releases on Story and Use Of Weapons followed, and now we're very happy to have him bring his own unique take on house music here on this remix of Tale Of The Tape.

Finally, another original entitled Matrix drops the bpm's further for a lazy, hazy, hiphop inspired jam with deep atmospherics and simple rolling groove.

Subb-an joins the Semi Delicious family for their 17th edition with the aptly named ‘Wobble’ EP, complete with a remix from label head Demi Riquísimo. The release marks another progression in the label’s sonic development as Subb-an contributes a heady, all killer no filler collection of tracks that fit snugly in the diverse, forward thinking back catalog of the imprint. ‘Liquid Sun’ kicks off the release. A subtle, chugging track that utilises a classic organ with a bass acid lines to get rolling. A low end heavy ‘Contact’ is next bringing with it a deep brooding tone and housy shuffling drums. The A-side wraps up with ‘Balance’ a more ethereal track that uses classic deep house motifs whilst remaining inherently modern. The title track ‘Wobble’ opens up the B-side doing exactly what it says on the tin and the EP closes out with the main man, Demi on remix duties putting his own imitable spin on the aforementioned track.

When great music minds get together, good things happen and this latest Freerange outing is testament to that. Bridging the gap between Toronto and Detroit, the Detoronto EP is the result of Mark Kufner aka Toronto Hustle’s vision of deep, underground house music and Sean Roman’s production prowess. With decades of experience promoting nights, DJing and running his own brilliant vinyl-only label Selections, Mark teamed up with production partner and fellow Toronto DJ, Sean Roman. Sean has worked with a diverse selection of imprints such as Nervous Records, Local Talk, Strictly Rhythm, as well as his own imprint Lately Bass.

On the vocals, Detroit’s ubiquitous Javonntte rounds out the artists for this heavyweight EP. Classic deep, raw, late night house sounds are the order of the day here. Deep In This is just the kind of fat, swinging groove to warm up the dance floor with. Simple yet robust, the square wave bassline brings the right amount of attitude whilst Javonntte’s vocal’s draw you into his world.

Next up, the duo give us their own Light Night Dub of Deep In This which strips out the harmonic elements, putting all the focus on the drums, bass and vocals. This makes for the perfect club tool, sounding massive on a nice system and guaranteed to get the floor locked into its unrelenting groove.

Flip over for a brilliant remix of Fall In Love by another legend of the Toronto house scene - Demuir. This guy is a production powerhouse whose soulful, funky, jacking house sound has seen him releasing on such diverse labels as Yoruba, Classic, Heist, Hot Creations, Robsoul and Desolat. Here he brings his trademark, loose and jazzy drums and funky AF Moog bassline which is accompanied by a beautiful, filtering piano loop.

Closing out this brilliant EP we have Fall In Love, another late night basement jam featuring the vocals of Javonntte. Classic rhodes stabs add a rolling energy to the chunky drum groove making this one of those classic B2 tracks destined to become a secret weapon in your sets.

Jimpster dons his Franc Spangler cap and joins forces with up and coming London-based producer and DJ Hudson’s Choice for a four track EP entitled Myatts Field. Touching on trippy slo-mo electronic grooves, tropical moods and percussive house jams it brings a more experimental and left field sound to Delusions Of Grandeur which we’re sure you’re going to love!

Opening track AcidMan sets the tone of the EP with a bubbling 303 line taking centre stage while pitched down vocals add a hint of menace, heightening the psychedelic mood. Dubby FX and analogue synth lines drift in and out of focus and give a live jam feel to the arrangement reminding us of something that might grace the decks of A Love From Outer Space. Heavily Percussed continues offering up a crazy percussion tool loaded with wonky cross rhythms, glitchy found sounds and a hypnotic synth sequence for good measure.
Flip over for Myatts Field, another slower tempo mutant discoid house groove which takes us on a deep trip into the jungle. Echoing sax and hazy vocals transport us to another world where Weather Report experimented with rolling four on the floor grooves and spacious dub.

Closing out the EP Roots picks up the pace with another percussion-heavy slice of tropical sounds which doffs a cap to masters such as Gregory and Osunlade. Steel pan melodic lines intersperse with chiming synth sequences making for an unusual yet hooky club track which will lock the dancers into its incessant groove.

UK mainstay Subb-An makes a welcome return with this fresh new EP on Aesthetic. It finds him in great form with opener 'Seeing Colours' heading off down a nice liquid minimal route with crisp tech drums and twinkling synths up top to bring the magic. On the flip side is 'Plants', a rather serene and sublime cut with more rolling drums and plenty of deft synth designs that bring a certain celestial charm to the fizzing leads. Snad's remix then shuts things down with a more driving sense of tech house rhythm to complete a tasteful EP of heady sounds.

What a difference a year makes, right? HOUSE Of ALL's follow-up to their self-titled debut came about at some risk to band and label . . . so absolutely sure of their debut, Martin Bramah asked for an advance on recording costs for the follow-up before their self-titled album had even been released. Needless to say, things went pretty well with the debut, which led to a few sold-out tours, wildly enthusiastic press and great sales. Follow-ups do come with perils, but perhaps Bramah's presumption was the very thing which has allowed CONTINUUM to escape the dread second album syndrome, because . . . it's fantastic! Whatever initial re-establishment of synaptic connection was needed to get things grooving on their debut, after many years since they'd last played together (excepting Peter Greenway, whose genuine bravery in joining four former members of The Fall whom he alone had never played with before) is history now. The grooves are bigger, the lyrics brilliant, Tomos Williams' production is top-notch and the necessity sitting on this album while the first one kept on rolling offered the advantage of allowing Dave Trumfio (of The Mekons and Pulsars) time to fine-tune the mixing and mastering . . . and it sounds HOT.

Bartees Strange has been one of the most significant indie artists to break out in the post-Pandemic era. He debuted with ‘Say Goodbye to Pretty Boy’, an album length collection of The National songs released in March 2020, on the cusp of the Pandemic. Later that year came his first LP, ‘Mustang’, which was named in endless year-end Best Of lists, including those from Pitchfork, Stereogum, Rolling Stone and NPR Music. He quickly signed to 4AD, and his debut for the label, ‘Farm To Table’, turned him into a club headliner and an arena-sized opening act with genre-defining artists such as The National, boygenius, Phoebe Bridgers and Courtney Barnett. The vinyl-exclusive release, ‘Magic Boy’, represents the Bartees story before this story began -33 1/2 minutes of recordings created before he entered the public eye, with eight out of ten never previously released. It finds his ever-malleable sound touching on genres like coffee house folk (‘IDK’, ‘Best Of You’, ‘You’re Here’), emo troubadour (‘Count It Back’, ‘Little Brother’), and wigged-out experimentation (‘Eat Your Heart Out’). Appended with two tracks previously available only as digital Bsides from ‘Say Goodbye’ (‘HAGS’, ‘Going Going’), ‘Magic Boy’ reads as a kind of ‘lost’ album for someone shaping up to be a major voice in indie music.

Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!

The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.

La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.

These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.

To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.

The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.

On Rotation returns with the second instalment of its Genetic Memories V/A series, showcasing the diversity of the label’s sound through 4 floor-focused cuts from a spectrum of global talent.

Fresh from dropping an EP with our good friends space:lab, Rambal Cochet delivers a mind-melting A1 to start things off. Deep, tasteful and making full use of his trademark sound design, “Meteora” is one for the witching hour!

Bolam steps up next with the party-starting “Dream Machine”. Colourful synths sit atop driving breaks, with the peak-time energy dialled up to 11.

Flipping the record reveals a darker, hazier sound. Moisk’s “GooSE Attack” is reminiscent of long nights (and mornings, and afternoons) in the smoky clubs of Berlin and Amsterdam, while the dark, rolling tech house of “X-Stream” by Aussie heroes Primitive Needs is pure afters’ fodder - a real B2 killer for those who know.

On Rotation is a Leeds-based event & mix series turned label, with 6 genre-defining releases featuring scene stalwarts such as Adam Pits, Solar Suite, Anderson, Roza Terenzi and Hybrid Man, Jamie Leather & more.

Arguably one of the most memorable house music moments, born out of the black LGBT scene in Chicago at the legendary Warehouse and known as one of Frankie Knuckles earliest productions; ‘Your Love’ is a stone cold classic. A record that is up there with the greats, instantly recognisable and a song that only get better with time.

Written by Jamie Principle and originally released in 1986, ‘Your Love’ has become a seminal recording over the past 34 years. Originally an underground club anthem, famously borrowed on the crossover hit ‘You’ve Got The Love’ (The Source feat. Candi Staton), and most recently re-produced by as part of the Director’s Cut project which aimed to update a number of classic cuts for the modern dancefloor, this is a record that endures the test of time. Working alongside The Frankie Knuckles Foundation and Eric Kupper, SoSure Music now releases two new remixes for 2020 from Darrius Syrossian and Alan Dixon.

First up, House music aficionado and legendary Sankey’s resident Darius Syrossian offers his unique blend of beats to the remix package. With releases on the likes of Get Physical, Viva Music and Hot Creations, Darius’ production is heavily influenced by some of the greats – think of the finest spinners from Detroit, New York and Chicago – and is well placed to approach this huge task. Darius introduces a rolling house beat and some old skool breakbeats into his mix, keeping the energy high throughout; bringing a feeling of a euphoria and hitting the peak time moment.

Charting a rapid rise through the ranks in a relatively short time Alan Dixon is already building a name for himself in House and Nu Disco scene and has recently released on labels including Glitterbox, Permanent Vacation, Running Back and True Romance. Alan’s remix aims directly at the centre of the disco dancefloor. A strong beat dominates a unique energy through the mix along with a slightly nostalgic vibe. With a beautiful floaty interlude and a raw emotion this remix updates a classic with respect while also giving a fresh new twist.

Like the best of them, Daniel Chavez got his start immersing himself in the nightclubs, dingy basements, and record stores of Chicago. Cycling around the South Side with records and a small PA system strapped to his back, he found himself at Smartbar and eventually began slinging records at Gramaphone alongside some of the deepest heads of his generation. Before long, Daniel made the jump to Brooklyn and landed at A-1 Records, while diving further into the global deep house community and soaking up knowledge like a sponge. After sowing seeds in obscurity for many years, Daniel saw the fruits of his labor in 2023 with a debut 12” on Halo’s Muted Noise imprint.

These tracks were designed and refined over the course of a year to meet the strict specifications of the Jewel soundsystem and dancefloor. “Writing on Water” is a submersive, simmering tune that heaves and moans for eight minutes, but could probably go on for an hour. “Terras” strips away the layers to reveal a spacious, floating world supported by a fat, rolling bassline. On the flip, “Spiraling” echoes a feeling of early My Love Is Underground and the New York deep house golden era before it: a time of revolution. Finally, “67th Session” combines space and depth with a simple vibraphone riff that can go off day or night.

Of the countless accolades and analyses that surround Blue, no point is more significant than the fact that the 1971 Joni Mitchell album continues to become more popular, revered, referenced, and relevant with each passing day. Such vitality is not only extremely singular; it is the ultimate measure of great art and, in the context of Blue, indisputable proof of the record's accessibility, integrity, and timelessness. If the most brilliant and everlasting music seeks to find truths shared by all of humanity, Blue can be said to be universal doctrine.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl, and strictly limited to 12,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the landmark album with reference-grade detail, tonality, and directness. Marking the first time the beloved LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on definitive-sounding vinyl and SACD sets.

Everything about Blue sounds more intimate, involving, and inescapable on this transparent pressing, which benefits from a virtually non-existent noise floor and superior groove definition. Mitchell's voice, positioned front and center, and primarily accompanied by minimalist acoustic guitar, piano, and dulcimer playing, comes across clearly and prominently. Suspended notes and radiant chords double as question marks, commas, and phrases. The in-the-room presence and spatial dimensionality make absolute the full-range spectrum of introspective emotions — hurt and distress, self-awareness and joy, difficulty and uncertainty, warmth and desire — Mitchell navigates, queries, and contemplates throughout the record. The defencelessness the singer once spoke about is laid bare here like never before.

The packaging of the Blue UD1S set complements its distinguished status. Housed in a deluxe box, both LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This UD1S reissue exists as a curatorial artifact for listeners who prize sound quality and production, and who desire to engage themselves in everything involved with the album, including the unforgettable cover photograph of a ruminative Mitchell shot by Tim Considine.

Deemed the third Greatest Album of All Time by Rolling Stone; universally celebrated by critics, fans, artists, and educators; and defined by a spell of disarmingly vulnerable songs that are at once confessional, intense, spare, honest, painful, hopeful, and exquisite, Blue charts love, spiritualism, independence, and loss like no record before or since. Widely considered the album that established the singer-songwriter template, the largely autobiographical LP changed everything shortly after its original release in June 1971. Amazingly, it continues to do so more than five decades later.

An incalculable influence on generations of artists, it stands as the through-line from Carole King, Elton John, James Taylor, Joan Armatrading, and Leonard Cohen to Patti Smith, Carly Simon, Emmylou Harris, and Rosanne Cash to 21st century contemporaries like Brandi Carlile, Taylor Swift, Sharon Van Etten, and Courtney Barnett. Teetering between agony and optimism, it is — to borrow a phrase from Mitchell's eternal "A Case of You" — a bottomless "box of paints."

The beauty of the stripped-down arrangements, intoxicating melodies, and Mitchell's wisdom on Blue didn't go unnoticed. Critical acclaim, coupled with the depth of the material and Mitchell's reputation, propelled the album into the Top 20 in the U.S. and Top 10 in the U.K. Yet while so much pop music diminishes with age, Blue has defied norms and headed in the opposite direction. Its 50th anniversary year witnessed an outpouring of tributes, reflections, and testimonials that helped frame the record's escalating importance and symbolism — apt in an age in which women have become the prominent trailblazers in rock, R&B, and hip-hop.

Perhaps most succinctly, in a 2021 article celebrating the LP, the Los Angeles Times declared: "In 1971, nothing sounded like Joni Mitchell's Blue. 50 years later, it's still a miracle." Nothing, indeed. Yet "miracle" suggests Blue partially owes to a divine agent or inexplicable circumstance. And though Mitchell's bracing conviction and forthright sincerity can appear otherworldly, her musical approach and lyrical storytelling is nothing if not personal and human. What we hear is pure truth — no matter how aching, complicated, or stark.

Much has been written about the circumstances that inspired the songs on Blue: Mitchell's romances; her time overseas; her disdain for celebrity; her lingering sense of loss at having given up her daughter for adoption; her treatment by the very same industry that her music made uncomfortable; her prolonged search for resolution. These situations and experiences pushed Mitchell to question everything — especially big-picture concepts that have always obsessed mankind: fulfilment, autonomy, love, honesty, being.

"I wanna make you feel free," Mitchell sings on the record-opening "All I Want." Mission accomplished. Blue is liberation — and the start of a freedom that continues to impact music, culture, and identity today.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.