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It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

IZIPHO SOUL are thrilled to announce the 7” release of the Modern Gospel Soul Banger JESUS MAKES ME HAPPY by RICHARD HARTLEY & SOUL RESURRECTION - Presented on vinyl is ‘The Joyful Exaltation
Edit’, this excludes the rap from the original version.
On the flip side, HEART AND SOUL, a ballad of epic proportions that builds and builds with the finale possessing some of the most gut wrenching vocals you are ever likely to hear. Richard states towards the end that ‘I should be fading
right now’, but finds the strength to come back one more time!

These tracks are taken from the album Face II Face from 2007, the CD is virtually invisible - Discogs history reveals no sales.

Richard Hartley has had a prolific career as a singer and musical director, travelling across the world to work with choirs and musical icons such as Aretha Franklin and Diana Ross. He is pastor
at Haven International Ministries, New York and star of his own reality television show ‘The Rev’.

Quand mon travail de compositeur fut terminé et qu'il ne me restait plus qu'à mixer et mastériser mon nouvel album, une pensée m'est apparue : Je l'aime trop et ne souhaite le partager avec personne. » - Ryuichi Sakamoto Membre fondateur du Yellow Magic Orchestra, lauréat de l'Oscar de la meilleure musique de film pour Le Dernier Empereur, l'innovateur synth pop Ryuichi Sakamoto est l'un des artistes les plus révolutionnaires depuis la fin des années 70. Acclamé et respecté par la critique comme par le public et par les musiciens, Ryuichi Sakamoto a créé de fascinantes unions musicales avec des artistes tels que David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jacques Morelenbaum et bien d'autres. async est le premier album de Ryuichi Sakamoto en huit ans. C'est son travail le plus personnel car il succède à un long combat contre le cancer, duquel Ryuichi Sakamoto émergeait avec une énergie créative renouvelée et passionnée. « Quel genre de « sons/musique » ai-je envie d'entendre ? » async est la réponse à cette question que Ryuichi Sakamoto s'est posé ces dernières années. C'est l'album dont il est le plus fier, et qui synthétise le mieux ses intérêts sonores et musicaux. C'est un voyage à travers le synthétiseur analogique, les sons des choses et des endroits, la bande originale imaginaire d'un film d'Andrei Tarkovsky, et bien d'autres surprises musicales...

A collection of unreleased themes and scores from 18 short animated films from the world famous Zagreb School Of Animated Film. Includes Oscar winning short cartoon Ersatz / Surogat by Dusan Vukotic (1961) and many other jazz, electronica and experimental scores by composer Tomislav Simovic. Coined by the famed film theorist Georges Sadoul at the 1959 Cannes Festival, The Zagreb School of Animated Film(s) or The Zagreb School of Animation, was defined as an artistic and philosophical world-view that set its mark on the history of animation in the 60's and 70's. The key feature of the Zagreb School (not educational facility in any kind), was commitment to stylization in contrast with the Disney-style canon of realistic animation. Among many composers that worked in Zagreb Film productions, the name of Tomislav Simovic (1931 - 2014) stands out. In his oeuvre of 300+ film scores (not counting compositions and arrangements for pop singers and jazz orchestras), many were made exclusively for Zagreb film documentaries, fiction shorts, features and animation. Simovic was particularly adept at writing music for cartoons. He skillfully synchronized movement and sound and mixed different musical genres, although, like his peers at the time, he leaned towards jazz. 'The Zagreb School of Animated Film (Original Soundtracks 1961-1982)' is compiled by Leri Ahel (Mutant Disco Radio Show) and Zeljko Luketic (Electronic Jugoton, Ex-Yu Electronica III). Master tapes were considered lost, now found and restored for this epic 2 x LP release celebrating Yugoslavia's animated art shorts. Double vinyl gatefold with extensive liner notes, photographs from the films and exclusive cover artwork by Dejan Krsic (NEP / Nova Evropa).

Voted DJ Mag’s Underground Hero in 2022, DJ & producer Lauren Flax has been a fixture in Brooklyn’s electronic scene for two decades. On her latest project Liz & Lauren EP, she teams up with Liz Wight of shoegaze techno duo Pale Blue, whose sultry vocals explore questions of love and isolation to the tune of Detroit house and acidic techno.

Flax and Wight became fast friends in 2021 after being introduced by Pale Blue member & 2MR co-founder Mike Simonetti, who’d enlisted Flax to remix Pale Blue’s “Breathe.” Naturally, when Flax needed a vocalist for some tracks she was working on shortly after, she knew just who to call. “I was in my last year of grad school doing an internship in community mental health helping kids cope with the trauma of the pandemic,” Wight says of the time. She channelled this experience as she wrote and recorded the lyrics to Liz & Lauren EP from her home in Los Angeles.

As a result, the lyrics on Liz & Lauren EP are open-ended musings on connection, isolation, and convention. Lead single “Fix Everything” can be read both as an indictment of the trappings of marriage or, on Flax’s view, a rousing call to action, applicable to issues ranging from the degradation of the environment to the attack on LGBTQ+ rights in America. As the EP progresses, Wight’s airy vocals consider the pitfalls of love, from the destructive power of infatuation to the pain of outgrowing a relationship.

Sonically, Liz & Lauren EP feels like a natural progression from Flax’s first release on 2MR, 2021’s Out Of Reality, which saw her exploring a more minimalist production style for the first time in her work. “I Don’t Want To Hurt You” and “Fix Everything” pulse with bright, dynamic production, while slow burner “Return To Love” takes a sparser approach, anchored by a muted drumbeat and a simple, earworm synth refrain. “I’d Risk It All To Be With You” is a masterful balance of both; it even gets the club treatment on the EP’s closing remix, courtesy of Flax’s friends Mark Archer and Simon Neale (Shadow Child) of MASC.

Liz & Lauren EP is an impassioned collection that showcases both Flax and Wight’s artistry in equal measure. For both artists, it’s a testament to stepping outside the norm (DJing for Flax, performing in Pale Blue for Wight) and collaborating with others, the fruits of which are sure to be felt on the dancefloor for years to come.

Following on from the recent Elegiac release - a meeting of two mavericks Blurt's Ted Milton and Wire's Graham Lewis we have teamed up with Blurt for a double sided 45 featuring two new tracks "Cry" & "I'll Be There Now".

Milton is a poet, with several volumes under his belt, as well as an avant-garde puppeteer. Yet he's probably best known as vocalist/saxophonist with psycho-funk afro punk fake no-wave pogo jazz trio Blurt. Milton's group has produced an impressive string of albums, not to mention his numerous solo recordings. Brimming with the pogo punk energy the band are known for, the lead side "Cry" is a mesh of raw drums and piercing sax slowing down on the flip side to a head nodding pace with Milton's echoing refrains backed by the raw bounce of the band.

Aqua Viva is the second album by Francesco Fisotti, who returns to tell the exotic and mystical atmospheres of Puglia (Apulia), with a deep and italo house sound, jazzy and fonky, in which synths and drum machines are combined with arrangements by musicians, enriched by rap and sung.

Incl. featuring of Andrea Rossetti, Roberto Chiga, Maurizio Tomaselli, Michela Giannini, Karlino Princip, Neos, Done, Filippo Bubbico, Manu Funk, Max Ingrosso, Emiliano Roca, Marco Chiriatti, Giorgia Santoro, Alyona Tsarbell.

Crucial Toronto rapper / producer / DJ myst milano. returns with thrilling new album Beyond the Uncanny Valley, an exhilarating ride through hedonistic experimental hip-hop and house music that reinterprets the breadth of Black electronic music with addictive singular energy.

“I offer Beyond the Uncanny Valley as a working anthology of Black electronic music across generational, geographical and genre lines,” myst milano. writes. “I thought a lot about staples of Black art across the world that can be traced back to Africa, and that link the diaspora regardless of where our people end up and throughout all eras.”

A mighty example of this omnivorous and multifaceted awareness of Black creativity, Beyond the Uncanny Valley is a tidal wave, swallowing up Canadian House, Detroit Electro, Chicago Footwork, UK Jungle and Dubstep, Jersey / Baltimore / Philly Club, Southern Hip-Hop and West Coast Funk into the trail of euphoric destruction left by myst milano.’s trademark grimy, sweaty, lusty neo-R&B take on contemporary hip-hop.

Opening with “Thirteen”, the album hits with punch and immediacy. The track’s thumping kick and swirling, haunted synthesis represent myst milano.’s keen ability to nurture perfect symbiosis between production, arrangement and lyrical theme. It is equal parts dreamy, provocative, sexy and powerful, and, together, entirely unique to myst’s creative voice. As with Beyond the Uncanny Valley as a whole, it is evocatively storytelling, mixing vivid imagery with slick wordplay. We are introduced to myst’s groupie (formerly “a hater”), as their crew “causes damage you can’t afford”, while witty threats and erudite posturing flow out over a steadily expanding instrumentation that mimics myst’s breathless, sweatbox DJ sets.

“Ring Ring” is another key track. Glitching nuclear alarms give way to a bulldozing kick drum and in-the-red distortion on myst’s voice. The vocals hit at breakneck speed while the production retains a dirty, dirging stomp. It is formidable, intense, fun, and intimidating in all the right ways.

Underpinning the album is a mechanised female voice that has possessed the record like a replicant ghost. “When we go beyond the uncanny valley, we reach a state of perfect harmony where the robot has mimicked the human to the point of being indistinguishable,” myst says. “Who are we when we become perfect imitations of what the world wants instead of who we really are, which is imperfect and flawed and a little uncanny, anyway?” While the music of Beyond the Uncanny Valley is human, with real emotion and expression, it occasionally flirts with the beyond, reaching into a near future where reality and technology bleed into one.

Beyond the Uncanny Valley is myst milano.’s second full length, following 2021’s rapturously received debut Shapeshyfter, and a monstrously successful accompanying house remix on the UK’s legendary Defected Records.

Borka's new 7" is a double single which features two tracks, taken from his new Places EP.

The A side features Todra, a track that builds up slowly, but before one knows it, it becomes a full-on neck breaker. The samples transport us to rocky Moroccan gorges, but do so with a killer hip-hop mood that bring to mind early Dimlite stuff.

On the B side we have Svetac, a track that swirls around a distinctively engaging folk sample, which immediately drops us on an island in the middle of the Adriatic sea. But Borka and his collaborator nikson manage to build a space portal around it that constantly flips between images of careless summer evenings and interstellar voyages.

"Memories in the corner of my mind
Flashbacks, I was laughin' all the time"

The package includes a download code for the full 8-track Places EP.


b 02: Svetac (dva tovara) feat. Nikson

Jaga Jazzists legendäres zweites Album, „The Stix“, kombiniert die digitale Dancefloor-Affinität ihres Debüts mit der Ausgelassenheit, Wärme und dem Fluss ihrer Live-Shows. Mit ihren stilvollen Produktionen, ihrer mitreißenden Bühnenpräsenz und ihren internationalen Einflüssen, die aus Hoxton über Oslo bis nach Berlin reichen, wurden sie schnell zu einer der beliebtesten Bands des erweiterten Jazz-Genres.

Im Jahr seit ihrem Debüt haben Jaga Jazzist weltweit einen großen Eindruck hinterlassen, insbesondere aber im vereinigten Königreich: die Debütsingle, „Going Down“, wurde damals vom NME zur 12“ der Woche gekürt, wurde u.a. vom jungen Gilles Peterson angepriesen und war eine von Muziks Singles des Jahres - und war folglich sofort ausverkauft. Und nun aber endlich wieder auf Vinyl erhältlich, en detail auf - wie bei Ninja Tune-Releases der Umwelt zuliebe seit einigen Jahren üblich - nicht auf 180 g sondern auf 140 g schwerem und rot-orange schimmernden Vinyl in einem 2LP-Gehäuse mit bedruckten Papp-Innenhüllen und einer 12" Reverseboard-Gatefold-Hülle.

Between 2009 and 2013 Kim recorded a bunch of music; in the old tramtransfer at the Kinkerstraat in Amsterdam (now de Foodhallen), in Berlin living in a biodynamic living community in Lichtenberg & in an apartment on the Hoofdweg in Amsterdam, that doubled as a grow-house.

The title ‘Oostwestkruisbest’ is a combination of the sayings ‘oost west thuis best’ and ‘ieder huisje heeft zijn kruistje’. The first translates as ‘home sweet home’, where the second means every home has its own troubles.

‘Infinity hours remaining’ was made during a prolonged period of sleepless nights. ‘Kopievankopie’ features, amongst other things, a guitar Kim borrowed from his sister. It directly translates as ‘copy of copy’. ‘Die Trommel, der Trum’ was made using a Casiotone 701 with a drummer boy in mind. The title is German for ‘the drum, the dream’. ‘Ongecontroleerde Dagrestanten’ was made with an elastic band (a broad one, that in the Netherlands were used by mailmen) and a clarinet without a mouthpiece. ‘Oostwestkruisbest’ features pots and pans from Kim’s kitchen.

Red hot Italian DJ and production collective Aura Safari is back with a second full-length album, Island Dreams. It lands on Hell Yeah Recordings on September 15th and is another live and sun-kissed odyssey through balmy Mediterranean evenings, gorgeous sundown sessions and funky analogue grooves.

Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni, Nicholas Iammatteo, Lorenzo Francioli, Ruggero Bonucci and Nicola Pitassio are Aura Safari, and between them they play drums, percussion, bass, keys, and guitar. They contributed to the first volume of the Buena Onda compilation in 2020 on this label, a year after serving up a debut album on London's Church Records. Since then they have become ever more entrenched in their local scene in Perugia, playing summer sets at the Umbria Jazz Festival, winter warmers at the legendary Red Zone Club and host their own Tropical Climax parties each month in the town centre.

Aura Safari are also deep-digging music collectors who have extensive and far-reaching tastes. When cooking up their sounds they draw on everything from Afro to Italo, house to disco, 80s boogie to world music, jazz and Balearic beats. This new album shows that once more across four sides of vinyl that sweep you up and transport you to somewhere idyllic.

The title track kicks off with steamy Mediterranean grooves embellished with lush Rhodes chords and sprinkles of cosmic magic. 'Sur Mon Balconnet' then slips into dubbed-out disco territory with 80s synths and leggy drums while 'Riserva Naturale' is a new-age jazz house sound with majestic lead synths and heart-melting chords that speak of a sunset dance on the beach. 'Onda' has squelchy boogie bass with hip-swinging drums, 'Wave Riding' is a lo-fi funk excursion with hints of West Coast Californian swagger and 'Magic Malbe' is loose-limbed Balearica with clear blue skies and blissed-out chords.

'Dancing in the Moonlight' feat. Zeke Manyika has all the vibrant feelings of bubblegum pop with Afro vocals and steel drum sounds next to rich xylophone sounds. There is plenty of heat and exotic charm to the proto-Afro house of 'Tropical Climax' and as well as dub versions of 'Sur Mon Balconnet' and 'Dancing in the Moonlight' come the scuffed-up Dam-Funk style beats and boogie of 'Disco Mantra' before closer 'Patagonia' shuts down with elastic drums and bass and playful synth leads that send you home wanting more.

Island Dreams is a tropical escape to a rich world of fusion sounds that look back to go forwards. It's a feel-good record to accompany hot nights and lazy afternoons, cocktails at dusk and dancing till dawn.

Club U Nite Records presents 'Purple Kush': A Captivating Journey through Energetic House and Reggae Dub Fusion

Named after the renowned cannabis strain, 'Purple Kush' exudes a captivating blend of energetic house tracks and relaxing reggae dub elements.

On the A-side, prepare to be enchanted by the groove of 'Let The Spirit Flow.' This track's driving beats, pulsating rhythms, and deep house organ theme create an irresistible dancefloor anthem that will elevate the energy of any party.

Continuing the sonic journey on the A-side, 'La Bahia' takes us back to the roots of old-school house music. With its addictive organ riff and swing beat, this song instantly transports listeners to a nostalgia-laden dancefloor where the vibe is contagious.

Flipping the record to the B-side, 'Make Your Mind Up' keeps the momentum going with its pumping beats and soulful vocal samples. This track demands to be heard on a club's sound system, as it kickstarts an infectious dance atmosphere that will keep party-goers moving until the early hours.

Rounding off the vinyl, 'Purple Kush Theme' takes us on a mellow yet captivating journey. Seamlessly blending house vocal samples with the laid-back vibes of reggae dub, this track presents a refreshing fusion that invites listeners to let loose and unwind.

‘Gentle Persuaders’ is the Love Love debut from London based neo-noise-jazz outfit Sly & The Family Drone. In the form of a four track long player, Sly vomit forth a smooth serving of curious and clattering noise not devoid of fun.

With the ingredients of shattering baritone saxophone, splurges of analogue noise, rolling drum derangements and snarling feedback it is immediately clear that these formidable noise-mongers have honed their methods of ear-attack adeptly. Textural spaces are peppered with bouts of densely packed controlled-chaos creating a tension that builds almost imperceptibly until the crushing pay-off that comes with the final track.

The politest of bludgeonings, ‘Gentle Persuaders’ has a real sense of cohesion and style, at times subtle and at others shudderingly direct.

With their unusual and interactive live shows, the group cut their teeth stunning the audiences of punk and noise scenes across the UK and Europe. Now, Sly & The Family Drone present their most complete recording to date; a rush of sheer ataxia ushering in a new age of noise.

You never have to guess what Tink’s thinking. The Chicago-born songstress and rapper says it all in her music. She spits, speaks, and sings straight from the heart without filter or apology. At the same time, she breaks boundaries, dropping off bars with uncontainable charisma and belting out hooks with show-stopping range. She can be romantic in one crescendo before getting raw in a bout of wild wordplay. This versatility consistently affirms her as a force in her own lane. Following her 2011 debut mixtape, “Winter’s Diary,” she dropped projects at a prolific pace, including “Alter Ego,” ‘Blunts & Ballads,” and “Boss Up.” 2014 saw “Winter’s Diary 2: Forever Yours” arrive to widespread critical acclaim, landing on year-end R&B album lists from Billboard and Rolling Stone. It also yielded “Treat Me Like Somebody,” which gathered 64 million Spotify streams and counting. A year later, XXL touted her among its coveted “Freshman Class.” Following a stint in the major label system, she embraced independence again with “Winter’s Diary 4” 2016, “Voicemails” 2019, “Hopeless Romantic” 2020, “A Gift And A Curse” 2020, and “Pillow Talk” (2023).

Duality Trax first opened its books in 2020 with an EP featuring Radiant Love regular Fio Fa and a remix of the year contender coming from Lisbon’s Violet. Since then the label has become known for its acute attention to detail, giving each release the shine it deserves while avoiding disposable practices and challenging the industry through its dedication to duality and balance, whether that be sonically or surrounding gender identity. It’s really no surprise that one of house music's leading label ¦gures Tywi was destined to make an appearance. Having started the Haŵs imprint in his home city of Cardiff, the label’s wide-spread popularity began to gain the attention from some of the industry’s most respected heads and became a breeding ground for new artists to emerge. A shared love of music resulted in tracks being shared over time and eventually DUALITY6 was born. In what will be his ¦rst full length EP, Tywi continues to join
the dots between 90’s house, prog, breaks and trance, with a huge remix coming from Frankfurt-based artist Maruwa. Title track ‘Reality Checkpoint’ connects various styles with a modern take on progressive trance. Sonics feel as if they’ve been projected from space in a kaleidoscopic mind-warping ride, coupled with the producer's impressive ear for world building soundscapes. A child of the ‘90s, Maruwa combines her classically trained ear with the nostalgia of her upbringing in the remix; channeling early trance records and deep, chugging rhythms into a wave of euphoria ¦t for peaktime. It’s the ¦rst time the label has also delved head ¦rst intofull trance territory, turning the intensity levels up while paying homage to both label owner and artist’s early musical in§uences. The B side opens up with ‘Spellbound’ which feels like a guided tour around the cosmos, sat beside trusted travelers and embraced by everything-will-be-alright energy . The track’s interior is built around synths that feel both effortless and light as our tour guide brings us towards our ¦nal destination. The EP comes to a close with ‘Laws Of Motion’, building slowly with shades of leafy greens and deep oceanic blues as it gently brings us back down to earth.

For Fans Of: Laibach, Trepaneringsritualen, Ulver, Skinny Puppy, industrialized Dead Can Dance, Celtic Frost. FORGOTTEN SUNRISE is a band both legendary and current; inventors in one era, and innovators in the present day. Celebrating their 30th anniversary this year, the group has evolved and morphed over time into its current formation of Anders Melts, Kadri Sammel, and Jaan Pullerits. A huge part of the Estonian cultural landscape that comprises dark music, Forgotten Sunrise began life as a death metal band in the early 90s, part of the movement that spawned groups such as Amorphis, Beherit, Anathema, My Dying Bride, and Katatonia. As styles converged, and electronics entered the picture, the group incorporated newer techniques and a more industrial approach over time, consolidating their methods into a unique strain they call “OUTDUSTRIAL” – outsider industrial. elu is the first album in the “HALL-ELU-JAH” trilogy. Starting in the middle, the band has an expansive story arc set across 3 albums. In this first presentation of the trilogy, elu synchronizes the classic Death Metal style vocal with ethereal female voice, horror atmosphere, and pounding EBM rhythyms to create 8 memorable and visceral tracks. From high-energy dancefloor-fillers like “Orthotoxic Waste” and “Deep Emoceans” to heavy industrial grinders like “Near Bye” and “iSaid” to the emotional close of “Meating 8:08” into “Elukas”, the album provides a serene metamorphosis, guiding the listener through the many-worlds-as-one experience of Forgotten Sunrise. – Forgotten Sunrise are: Anders Melts – Vocals, bass, guitars, cymbals, djembe, thunder tube, knife and fork. Kadri Sammel – Vocals, bass, keyboards, shaman drum Jaan “Suva” Pullerits – Controlling the arrangements of chaos Ants “Ank” Lill – B(l)ack vocals on “Elukas” Recorded, mixed, and mastered at In Dreams 2020-2022 Artwork by Rene 13 Cover Picture by hellish.cav Executive Producer for Ohm Resistance – Alexandra Portaluppi

repress !

From LUXXURY’s infamous edit series, these long sought after tracks are finally getting a proper release in this new limited series. 'Never Gonna Dance Again?' is a hopeful look to a post pandemic world, blending a well known blue eyed soul vocal with a bassline straight from Paradise. 'Black Curtains' is a deep cut cover of an AOR classic, while 'Black Magic Reaper' is a gloriously slow, psych disco haze. 'We’re All Gonna...' loops a sleazy French jazz disco B side with a vocal sample from a Purple guest.

twelve.to.zero is back with its second release, signed by Crihan. "While You Sleep EP" finds Alin shaping three slow-burning and hypnotic pieces of minimal dance music brimming with detail deeply rooted in the early years of organic micro-house.

A-side's 'The Visitor' (A1) opens the EP emersed in engrossing, cinematic textures and heavy doses of syncopated acoustic drum samples. Elements ebb and flow on top of a highly minimalistic 4/4 structure, creating a contemplative locomotive composition reminiscent of the a-rpia-r school.
Flip-side's 'Lust' (B1) feels like a continuation of the previous track - driving, mysterious, mesmerizing - bubbling with vocal samples, orchestral textures, and a distinctly subtle micro-house swing. 'The Chase' (B2) closes the EP with a fresh rhythmic flavour: odd drum arrangements and melodic sequences take centre stage, flowing on top of rolling basslines of deeply enigmatic character. Introspective piano chords razor through its swingy rhythmic patterns, folding the sonic space with elegance, proving Alin's innate talent for avant-guard minimal music.

For the 30th anniversary of the release of the first single by Frankie HI NRG MC 'Fight Da Faida' Irma Records together with the artist have decided to pack an unreleased collector's version of the song.

The new look is in 7-inch format (45 rpm) in a limited edition on white vinyl with a gatefold format cover containing, in addition to a photo of the artist of the time and one of today, the original lyrics of the song and a text by the well-known journalist and radio and television host Luca De Gennaro who was the first to notice the artist.
The song Fight Da Faida has been seminal for the evolution of Italian Hip Hop.

At the time, few such songs had come out and they were all known mostly on the alternative circuits. Fight Da Faida, despite its harsh and explicit text against the mafias, was the first to have real radio programming on national networks.

It was also obviously the launching pad of the artist who later released his first album 'Verba Manent' which also contains this single.
The new format contains the original version, the instrumental version and the 'famous' Sicilian nursery rhyme 'Tri Tri Tri Trinacria Breakdown' which over the years has been repeatedly sampled abroad for club music songs.

After a long hiatus, the vinyl imprint "Endless Rotation" emerges once again with "You Name It EP." This time, label owner Fred Brune teams up with Willi Schumacher, also known as WIRED. The result is a collaborative A-side that takes listeners on a spacey minimal journey, accompanied by a captivating looped pad phrase reminiscent of the early 2000s German minimal sound. Fred Brune contributes an additional lively percussive groover, showcasing a prominent dirty saw-tooth bassline. On the flipside, Paul Walter, a highly acclaimed artist from Vienna, delivers a mesmerizing 14-minute minimal remix of "You Name It", skillfully reimagining the acoustic drums with an innovative twist.

Surfaced Trax returns for its second chapter with a solid V.A. compilation. "Sub Sonics Vol. 1" offers four dancefloor-ready tracks full of character.

The 'Sub Sonics Vol. 1' features tracks produced by Parallax Deep, Weirdvin aka Edvin Wikner and Kasvo, showcasing their unique character and talent. Parallax Deep does the honours of closing and opening the compilation with style - 'Submerged' (A1) and 'Sediment' (B2) are two exquisitely groovy, deep excursions full of emotive pads, sub-basses and detailed syncopated rhythms and creative sampling, showcasing their very personal definition of deep techno. Weirdvin's 'Morphing' (A2) is a bleepy minimal techno groover aimed at dancefloor hypnotism - swirling melodies, freaky vocal sampling, odd sonic textures - a recipe for a perfectly wacky dancefloor moment. Kasvo's 'Karura' is a finely creative, dub-infused stroll in a deep, dark forest, where nature's very own sounds are sampled as the perfect rhythm and atmosphere tools, relying on a thumping kick and bassline for total immersion.

The vinyl sampler „70s Disco Hits Vol. 2“ is a compilation of timeless disco classics from the 1970s presented on a highquality vinyl record.

This sampler invites you to rediscover the pulsating rhythm and distinctive sound of this outstanding decade.

Thanks to very careful selection, „70s Disco Hits Vol. 2“ presents a fascinating mix of well-known songs and hidden gems of the disco era. From funky basslines to rousing horn sections and infectious choruses, this sampler offers a crosssection of all the diversity and energy of the 70s.

Six years on, O$VMV$M mark the return to NoCorner for their first 12” on the label, with a six tracker (available with a special zine) entitled Weekend Saviour.
Musically, the record traverses that noir-ish, bass-centric atmosphere of their early output with the first three cuts, before switching up into an oddball dancehall trajectory on Side B, all whilst playfully hinting at a paradoxical world where nothing can be taken too seriously and fun must be had in order to maintain some sanity.
The final track, ‘Codzilla Outro’ is not really an Outro as such, it feels like the start of the best film you’ve never seen – or heard. Or maybe the film was called Weekend Saviour and you’ve just watched it? Either way, the imagery is definitely strong with this music, even with eyes closed.

Duo Drunken Kong step up for their Drumcode debut.

The residents at Tokyo’s legendary Womb have a distinct sound signature, as dreamy melodic and vocal elements rub shoulders with the pair’s trademark groove-orientated rhythms to create hypnotic techno outings that span the breadth of the genre, from heads down rollers to peak-time pleasure.

Their maiden outing on Drumcode is an inspiring four-track work ‘I Want To See’ that lays down this sonic manifesto, with each track built around different vocal samples used to skilful effect.
EP opener ‘It’s Then’ brings atmosphere in spades, mixing up a chugging bottom end, a sleek synth line and a sublime vocal that simmers throughout.

The title track is another late-night dancefloor affair that shifts between function and fun, as a slick mix of polished grooves and hypnotising melodies build towards a thrilling crescendo. ‘That’s It’ brings peak-time energy against a plump electro backbone and ’90-tinged vocal.

The EP rounds out with evocative ‘Need It’, as a stirring vox and metallic drumlines propel the track forward.

Caserta’s favourite era of house was when the line between hip hop and house was really only made visible by the tempo of the songs. An art mastered by legends like Kenny Dope, Armand Van Helden and DJ Sneak to name a few.

FF to 2023, Caserta returns to that form with Joe’s Boutique. An obvious nod to the craftwork of the seminal album Paul’s Boutique by the Beastie Boy’s. Caserta fired up the samplers and sliced and diced his way to his first EP in years. With swinging drums, heavy basslines, chopped up vocals and music you might think you stumbled across a lost Strictly Rhythm acetate but mixed and mastered to year 2728 by the man himself.

Complete with vocal interludes segueing from track to track this truly is a listening experience as well as a dance floor filler all in one.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Life has changed in the eight years since the release of II. In ours, yours and Gala Drop themselves. Most times without noticing it, partly due to those two years of a semi-existence that still resonates and with the ongoing predatory gentrification process changing the landscape and life of Lisbon, home to the band since ever. Close to a decade and a half of existence, with various mutations along the way enacting new perspectives and moments of stillness and reflection to a sound that's been mutating itself to its own internal rhythm and agency under the guiding light of the core duo of Afonso Simões and Nélson Gomes. Now a trio, with Rui Dâmaso transitioning from II after the departure of Jerry the Cat and Guilherme Canhão, Gala Drop sound even more focused as a working band, with their new album title Amizade – friendship in Portuguese – making perfect sense in a celebration of their, by now, patented soundworld of cosmic inspiration: krautrock's endless and hypnotic potential, dub's sense of transient space, the throb of house, balearic dreams, polyrhythms and a communal sense of belonging.

Again, this sprawling sphere of influence opens itself to new shapes and inspirations, but there's a deeper sense of accuracy and direction, with the band channeling those legacies into something we can only grasp as the Gala Drop sound. An organic outcome of working steadily as a trio, made possible by a residency promoted by gnration in Braga, Amizade dwells on the psychedelic nature of the group through seven tracks made up of dreamy synth washes, loads of percussion, echoes, chilled guitars under a radiant aura. Gala Drop have never sounded as openly dubby as on 'Dub da Meia Noite' and 'Areal Dub' or capable of converging different tropes of the hardcore continuum – rave stabs and cut up vocals – on a slow burner as memorable as 'Monte do Ouro'. Or given free reign to electricity as on the narcotic guitars of 'Guitarra Voadora' – excepting the one off with Ben Chasny on 2012's Broda. 'Amizade' points towards all of that with comforting escapism and wrapping things up 'Raio' turns dubstep's original bass weight meditations into a cosmic funk workout. One last hug before we leave. An album that feels like a collective moment of celebration, just when we most need it.

Afonso Simões - Drums, percussion and synthesizers
Nelson Gomes - Electric guitar and electronics
Rui Dâmaso - Electric bass & guitar and synthesizer

Recorded by Budda Guedes at Estúdio Mobydick, Braga
Mixed by Gala Drop and Hugo Valverde at Estúdio Cão Andaluz, Lisboa
Mastered by Anne Taegert at Dubplates & Mastering, Berlim
Cover photo by Sara Graça
Design by Nicolai Sarbib

First collaboration release by Bangkok and Seoul based labels More Rice and Walls And Pals, featuring label owners DOTT, Jesse You, Mogwaa and Sarayu. Four dance §oor eady tracks with each artists’ signature sound!