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You know Krash Slaughta right? The man behind the recent wildly successful DOOM/Sugacubes mash-up LP Sugar-Coated DOOM, not to mention his unofficial remixes of the Wu’s K.R.E.A.M. and P.L.O. Style and collab. 45 with Phill Most Chill, Rebel Base? ‘Is he at it again?’ the monkey hears you ask. Yes, he is at it again, though the closest of the the three aforementioned releases to what he’s about to drop is the Wu remix 45. And what he’s about to drop is Diggin Deeper, not a single this time but a whole remix album of one of his (and the monkey’s!) all-time favourite hip-hop LPs – to wit, Niggamortis – more usually known as Six Feet Deep (especially in the U.S., though minus the best track under that name) by hip-hop supergroup Gravediggaz.

As many will know, this LP with its horror-movie fixated lyrics gave birth to a whole hip-hop sub-genre – that of ‘horrorcore.’ However, none of those who came after seemed to manage the lyrical humour of The RZArector, The Grym Reaper and The Gatekeeper (a.k.a. RZA, Poetic and Frukwan) and the only bit of production by The Undertaker (a.k.a. Prince Paul) that they seemed interested in was the sub-metal rap sludge of the shouty Bang Your Head – i.e. the LP’s one weak spot. But don’t worry, Krash isn’t interested in that sort of thing. Not only does he avoid rap-metal beats for Bang Your Head, he doesn’t use any on the LP at all – hurrah! What he does do is employ, arguably, as eclectic an array of sample sources as Prince Paul on the original – though with an entirely different end result. Bang Your Head with its apparently sixties garage band-derived beat for example is one of the standouts. The skeletal piano skank of 6 Feet Deep is another, while a beat featuring spaced-out eighties synths forms the new musical backdrop to Constant Elevation. Two more of the monkey’s favourites on this one are Here Comes The Gravediggaz, now underpinned by double-bass-led funk and the glorious inappropriately joyous bounce of Blood Brothers. The result? Your favourite cuts on this one might not be the same as your favourite cuts on the original. Two different versions of a much-loved LP, then; it’s why people remix hip-hop. All the vocal stems were created by Krash and the ultimate intention is to do a limited vinyl release. Cover art is by the Dead Residents’ Junior Disprol.

Our second release is made by the hands and ears of Torc.

X/Y/Secret cofounder and infamous YouTuber, Oscar from Underdog is showing us a lot of his technical abilities in this one!

The result is a fast-paced journey through intricate club grooves, crafted with mastery.

The remix is courtesy of Insolate. She leads the original into bolder territories without disturbing its flow, which elevates it in all the right ways.

Eli Escobar returns for his 9th full length LP. While his last few projects found him exploring downtempo beats, EBM and ambient in§uences, this latest offering of Eli's studio craftsmanship marks a return to the sound of his early releases like Up All Night and Happiness. Warm samples expertly woven into classic drum machine rhythms and searing synth lines, The Beach Album takes listeners on a journey through golden era hip hop beats, feel-good NYstyled house grooves into sweaty techno bangers. Similar to Eli's DJ sets, the 16 track long player has something for everyone. Created during the uncertainty of the pandemic when as Eli put it, "It didn't feel like the right time to release dance music," The Beach album celebrates the return of NY nightlife and optimism for the future.

The Udacha label might have been away for a while but is now back with a vengeance. First up for this return is a new long player by the mighty fine Kurvenschreiber quarter, which is made up of Sergey Komarov, Vlad Dobrovolski, Ilya Sadovski and Alexey Grachev. These sound artists have been excelling in their field for some 10 years now and use synths as well as found sound objects to create their work. Magnetic tape loops, various instruments, pre-recorded loops, shortwave radios, transformers and much more give rise to this unique record which mixes up Boolean jazz, kurventronika and post-rock.

"Born in the shadow of the sails of Scampia, a difficult district on the outskirts of Naples. Born in 1980, she embarked on a career in the world of music not without rolling up her sleeves, reaching the most important consoles in the world and pu"ng her signature on songs who made history.

This Vinyl, with Children and One & One inside, encloses the essence and style of Deborah, crea*ng a real collector's item”

2023 Repress

Atom™ (also known as Atom Heart and often confused with Señor Coconut, real name Uwe Schmidt) is a German composer, musician and record producer of electronic music. He is often regarded as the father of electrolatino, electrogospel and aciton (acid-reggaeton) music.

Kinn turns the Post-Rock continuum inside out with his sophomore album, Dogtooth.

Shifting focus between his present self and his misled teenage years, 'Dogtooth' sees London born and raised sound art graduate Fred Lomas contemplate the vulnerability of youth, addiction and suicide as Kinn. Unabashed in their creative ambition, Kinn's tongue-in-cheek 'dread-voyeurism' is underpinned by a palpably sincere vulnerability that seeps through their dynamic and rewardingly dense records.

An insight into Fred's formative years can be unraveled from his nickname "Dread", originally given to him by his parents. Growing up in North London as a 'constantly out of the house' youth, Fred only had eyes on any counterculture he could find to defy the city's notorious empty capitalist centric mainstream culture, skateboarding, graffiti, and terrible punk bands which would only last 1-3 rehearsals (max). As a teenager he experienced the notorious 2011 Tottenham riots, which is often referenced in the artist's output and greatly informed their sensibilities. Barely an adult, he was confronted first hand with concepts of constant hostility and corruption which were seemingly welded to his surroundings, corruption formed by high rises and international political scandals taking place only a short journey away.

Even today, Dogtooth reflects on this contrast of community and anger and surmises it to be part and parcel of modern metropolitan life, looking to peel away the bad looking for meaning, comfort and ways of goofing off amidst oppressive forces, sirens and snake oil salesmen everywhere.

The Intergalactic Research Institute for Sounds is proud to present Requiem for Robots. For this latest transmission, Florina Speth aka Schloss Mirabell joined forces with a group of robots that were built by Kay Sievers (versioduo.c..). The musical question this record states is: “Who animates what?”

The physical body of these robots consists of a wooden cuboid, a single string around which a round, internally strung bow revolves, and a motorized finger which can press down the string. They produce sounds that are very similar to the cello. They display unusual characteristics such as motor noises, infinite sounds or sometimes scratchy and gruff qualities. In addition, there is the extraordinary level of kinetic expression created by the bow circling around the string. Taken together, precisely these peculiarities form a unique instrument profile, a character which is emphasized in the presented project.

Florina Speth, born 1983 in the mountains near Salzburg, started playing the cello and piano at the age of 6 and began studying music at the “University Mozarteum Salzburg'' at Clemens Hagen when she was 11. She won several prizes and was part of orchestras such as the Bayerisches Landesjugend Orchester and Salzburger Junge Philharmonie. Always keenly interested in contemporary music, she loves bridging experimental arts with science. She composes and works with cello and cello robots. She regularly collaborates with Dasha Rush, Hüma Utuku, Nicholas Bussmann, Lucile Desamory and Larissa Lackner.

The colossal Caposile Music strike once more with a heavy hitting house EP. This sought after summertime jam comes from resident and long time family member, Maggio. The flourishing Italian talent enforces the driving force that is After Caposile with three driven and animated grooves for the peak hours of the party. Accompanying him with a stellar remix is acclaimed live performer and producer, Vitess, the Frenchman showcasing his consistent sound, living up to the Caposile ethos with great effect.

This is “Discoline”.

Title track “Discoline” cruises on an irresistible elastic groove, shimmering synths and pads shine bright, breathing life into the rolling structure of the track. This one living and breathing a pure and infectious summer time energy. Packing a serious punch is “Vertigo”, built upon crisp drum arrangements and another dynamite bass line for the heads. If you are looking to go up a gear on the floor then you are in the right place.

On the B side Maggio’s “Outer Space” leads the way. The aptly named track prepares you for lift off with its distinctive chugging, sub heavy bass. Sprinkles of spaced out vocals tease you down a path of curiosity. Vitess rounds off the EP with another recipe for dance floor frenzy in his remix of “Discoline”, playful yet effective frequencies to ignite the flight, an essential for the record bags of many in the coming months.

CPSL005 lands off the back of the “Sound Of Garden” volumes 1 and 2, and with this latest addition to the catalogue it ensures the label and club continue to cement themselves at the forefront of the scene for underground minimal and house, continuing to spread like wildfire. Become part of the Caposile family this summer with some sincere day time action from within their circle.

Drumcode is set to release ‘Elevate’ a 10-track compilation showcasing cuts from a fresh array of label family and friends, including BEC, Juliet Fox and rising talent Chelina Manuhutu, Tini Gessler and DJ Dee. The project is also testament to techno’s global appeal with artists coming from Japan, China and Australia, as well as across the UK and Europe.

Always with an eye on the future, ‘Elevate’ sees a total of seven artists make their Drumcode debut split across three vinyl EPs. The third and final part sees Tini Gessler, Marie Vaunt and BEC let loose three future Drumcode classics.

Tamango Records boss Yaya heads to TRMNL Records as he unveils his latest EP on the imprint, backed by remixes from Salty Nuts head honcho Fabe and label resident Vito.

Heading up his Tamango Records imprint while serving up killer cuts and remixes on Desolat, Moan, Revival New York and more, Yaya is a man in high demand across the globe. With his take on house music bridging influences from Africa to Italy, his percussive-driven and slick sound has made him a favourite for those looking for productions leaning towards the more energetic yet minimal end of the genre. That style is on show once more as he adds a new label to his catalogue. Joining the likes of Djebali, East End Dubs, Ray Mono and Samu.l, late July brings the release of his new EP ‘Para Siempre’ on UK imprint TRMNL Records, accompanied by a slick pair of remixes from Fabe and Vito to shape up the package.

Title track ‘Para Siempre’ is a skippy and bouncy lead effort as crisp drums, a zippy bassline, and warped vocals go to work to showcase a production bursting full of vigour, while ‘Umbrella Corps’ leans towards more organic, rolling percussion arrangements, shuffling rhythms and elastic melodies guide things towards the later hours. On the flip, Fabe steps up for the first remix as he brings his signature groove-led style to proceedings for a swingfuelled slice of funk, before Vito’s crisp take on ‘Umbrella Corps’ closes the show with a final injection of early hours goodness.

Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA

Wisdom Teeth co-founder K-LONE returns with his second full length project, ‘Swells’: a kaleidoscopic and expansive record that looks to deep house, synthpop, leftfield R&B and beyond for a spellbinding masterwork of melodic electronica.

His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine.

Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography.

Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the CR78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow.

The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Award-nominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu.

Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’).

As always, the true magic of K-LONE’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music.

"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Mahalia is set to release her brand-new, sophomore album titled ‘IRL’ on July 14th with the pre-order set to go live on May 11th.The album will feature the singles ‘Terms and Conditions’, ‘Cheat’ and ‘In My Bag’ with album features including Stormzy, JoJo, Joyce Wrice and Kojey Radical.

Aptly titled IRL, Mahalia is particularly incessant on doubling down on vulnerability, internal reflection, and a desire to feel, in the realms of love specifically as demonstrated on her last project. “I feel like there’s even more personality on IRL. I want people to see me how I see myself.” Emboldened by her inflections, insights and young adulthood, Mahalia is not only breaking the mould on IRL, but determined to live life cognizantly. “This is a real reflection of the journeys I've had, what actually happened and a celebration of everyone who got me there. There are names and family members I mention because it all helped in shaping who I am,” Mahalia rationalises. With an innocent, yet assured gleam appearing on her face, “I’m so proud of this project, and so proud of how much I challenged myself to just let those stories out.”

Christened in many Grammy, BRIT, Soul Train and MTV Push nominations over the years, as well as two MOBO-wins for Best Female Act, and Best R&B/Soul Act, Mahalia still proves that beyond the accolades, an overarching dedication to persistence is what’s driven her to look inward, grow and ultimately challenge herself with each and every release to date. Standing as one of British R&B’s most successful contemporary faces, Mahalia continues to grow and establish herself in both her tact as an artist, but in building more robust ruminations sonically. As she evolves, her success becomes even more bonafide, both on home turf, but abroad too (she’s cracked the US Adult R&B Charts three times to date).

With her legion of 3.3M monthly Spotify listeners, the penultimate Saturday slot on the West Holts stage at this year’s Glastonbury festival and an opener performance for Adele at Hyde Park last summer, as well as a stellar prime-time Commonwealth Games closing ceremony set, there’s more territory to break. “I’m almost glad Love and Compromise didn’t go completely sky high, it’s given me room to keep developing, keep growing and go higher than I’ve ever been before. I’m so ready to bridge the gap now, I feel like I’m absolutely playing the long-game.”

Circa Groove are squashing their first EP into wax with red-hot house talent Donnie Cosmo, after a successful run of digital releases over the past 3 years.

Donnie's sound has been turning heads and moving dance floors in a special way, with a celebrated EP under Gene on Earth's Limousine Dream. His second vinyl EP will now come into existence under the Circa Groove imprint in the form of a 4-track solo EP.

Commencing the EP is the Track 'Stargazer (Highway Mix)', like Neil deGrasse Tyson this one is seriously intergalactic. The track holds tight and shuffling drums, with no-nonsense synth leads lifting the whole track and making it shimmer. The bassline bubbles and rocks underneath the top end giving the track an unrelenting energy.

Followed on by Wired Nag, this is a track that flexes monstrous sound design to construct a deep and flowing number. Laced with electro pings and undulating synth leads, this is deep and weighty club-ready music with nods to 90s house and electro.

In a similar fashion, on B1 and B2 Donnie has delivered 2 chrome-plated, slamming numbers, likely to cause axial tilt on the dancefloor

This latest instalment of ARTHUR BAKER Presents DANCE MASTERS finds the production/ song-writing/ remixing maestro taking the spotlight for a long overdue snapshot of his own classic 12” mixes during a crucial evolution of dance music, club
and pop culture.

“I’ve always felt like I was on a mission to make music from the time I heard Motown, Philly and Sly and the Family Stone. My mission started as a hobby and still feels like one now. You’ve got to keep on pushing and hustling. It can be a drag sometimes but
if you really love what you’re doing, it’s worth the work. I still really love what I do.”

Arthur Baker helped codify the remixer as artist. His genre-fluid approach to projects
has resulted in a joyous myriad of classics that spans many decades. This ’80’s focused DANCE MASTERS collection offers a welcome glimpse at Baker’s illustrious career and many long out-of-print 12” versions and previously unavailable mixes.

This 35-track, six LP expanded edition includes a wide array of selections from the likes of Robbie Nevil’s “C’est La Vie,” Fleetwood Mac’s “Big Love,” Neneh Cherry’s “Buffalo Stance”, Jeffrey Osborne “Soweto”, Freeez “I.O.U”, Rockers Revenge “Walking On Sunshine” and of course the juggernaut “Planet Rock” with Afrika Bambaataa & Soulsonic Force.

Complete with in-depth liner notes by Bill Coleman, track by track notes written by Arthur Baker himself, previously unseen session photos from Arthur’s personal archives and a signed insert.

All tracks remastered by Nick Robbins at Sound Mastering

Almost halfway through 2023, Voitax returns with a bass heavyweight of the highest order.

Marc alias Tymotica has been showcasing his musical ambitions not only as a founding member of the Munich-based label »Ruffhouse«, but also through his sonic ventures as a DJ and producer. Luca, on the other hand, an equally ambitious DJ and producer going by the name of DJ Ion, has his roots in hip-hop, jazz, and 90s techno. His debut on Don Williams’ a.r.t.less imprint proves that adequately. Their fusion turned out to be quite fruitful, as shown by their diverse yet well-centred record »Anthea« on Club Qu.
With »Bionic Gradient«, their promising collaboration enters another chapter, a representation of their precise curation of musical components, as well as an impressive design of their sounds. This progressive bass EP features dubstep-, grime-, trap-, and hip- hop influences, nuanced with dub and IDM. Through each track, the duo links crispy polyrhythms with well-chosen samples that perfectly complement the contemporary, high defined sound. Catchy leads, long reverb tails, metallic soundscapes, and detailed drum programming are carefully fused with the underlying warm bass body. All this comes down to an astonishingly eclectic bass EP that is built to be dropped on the dance floor, yet invites you to dive into an abstract and dreamy world on its own.

As both are continuously working on new material, we are more than excited about what is to come!

Eine jahrelange Freundschaft bildet das Fundament: Auf ihrem ersten gemeinsamen Album, »--------«, führen Peter Kruder und Roberto Di Gioia ein scheinbar intimes Gespräch, in das wir als Zuhörende indes soghaft hineingezogen werden. Eine wundervoll zauberhafte Musik, in der man sich verlieren, vor allem aber: finden und neu zusammendenken kann.

Ratkiller steps into daylight for a brief moment with two tracks of fizzy experimental shenanigans. Let it fry your brain. Step by step. On & on!

Ratkiller is one of many projects by Estonia's outsider don Mihkel Kleis.

Once again, Perm has turned just the right knobs to give you the perfect soundtrack for your personal journey into Techno wonderland. The Leipzig based wizard simply knows how to leave dancers both dizzy and beatific. When those strings in "03-VIII" come together to its climax you're more than ready to embrace the night. The focus in "03-IV" is more heavy on the drum work with just the right amount of subtle tripping hazards. "03-III" builds and builds without ever bubbling over while the mighty "03-VIII" comes with a Boom-Tschak-Electro feel to it. The artwork comes courtesy of Carl-Johannes Schulze.

In anticipation of Kerri Chandler’s forthcoming album Spaces and Places, his first in 14 years, that sees the New Jersey legend celebrating club and soundsystem culture by recording, writing and performing a track in twenty-two of the worlds most distinguished nightclubs, Kaoz Theory drop the fourth in a series of vinyl album samplers.

Sampler 4, another stunning gatefold, double 12 inch package sees Kerri place himself front and centre in six more of the best clubs the world has to offer. Setting up shop in the dancefloor meccas that are Ministry of Sound, Rex, Razzmatazz, De Martkantine and Watergate, Kerri bottles up the atmosphere, euphoria and vibe that each hallowed spot nurtures, in a way that only he knows how. Trademark precision, packed with soul and delivered with a weighty bottom end, this is Kerri Chandler of the highest order.

Master of the mashup, Casual Connection cruises into town with a double shot of straight up summer burners to light up the dance.

Amy Douglas should need no introduction, having supplied song-writing and vocal duties for Horse Meat Disco, Róisín Murphy, Luke Solomon, Soul Clap, and worked with Joe Goddard on their Hard Feelings project,

Here she teams up with Craig Bratley, who dusts off the analogue synths to produce something which clearly wears its influence on its sleeve, taking in elements of Balearic, Street Soul and early Sheffield Bleep.

On the Ashigaru Dub, Craig explores these influences further, the result reminiscent of Mad Professors take on Massive Attack.

The life of the solo electronic artist is equal parts privilege and loneliness. You hurtle across the sky to spend a few hours in a dark club, behind the decks or on stage at the microphone. A brief grasp at transcendence, then the lights are on. Afterwards, you chat with friends you made last month, last year, or an hour ago. Back on the train, the plane. A couple weeks of this, then home. Repeat. It was against this backdrop that Ana Roxanne and DJ Python (Brian Piñeyro) struck up a singular friendship and collaboration, culminating in the shared musical language of their new project, Natural Wonder Beauty Concept. Brian and Ana met in New York City in the winter of 2020. They’d respectively put out critically acclaimed albums but due to extenuating global circumstances, the real-world implications of those records were yet to be seen. Ana’s debut LP, Because of a Flower, released in fall 2020, trades in both ethereality and directness, stretching timeless pop and R&B forms into shimmering ambient magic. When the Bay Area-born, Mills-trained artist sings, on record or live, time slows down and we enter a languorous yet ecstatic present. The second album from Queens-based deep reggaeton innovator DJ Python, Mas Amable, also subverts easy temporality. Released in spring 2020, Mas Amable floats in liminal space—not quite a dance record, a downtempo record, nor an ambient record—unfurling at a wistful pace, naturally suited for a strange period when each day felt the same yet wildly different.