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2020. Full On Lockdown: Musician LaurenceMasonputs together this off the wall idea meshing together two of his biggest musical heroes, Dave Greenfield of the tough 1970's proto-punk band The Stranglers with the oh so cool 1960's jazz of Dave Brubeck. He puts up his demo on Youtube not really expecting much in the way of feedback. And gets ONE MILLION hits. And hundreds of requests for a release. Jazz Room Records Head Honcho Paul Murphy says "Do you wanna record that and release it?"."Affirmative!" The result is this grooving Soulful and Funky Jazz version of "Golden Brown". We're rush releasing this as when announced we were swamped with requests asking when it will be available.

On the "B" side is a languid and super cool version of "Walking On The Moon", originally by 80's Supergroup The Police.

Each copy of the Take Vibe E.P. will contain a Cut Out and Keep Fully Customizable Front Cover Sticker Sheet

This is just a taster for what we're confident will be a must have album to be readied for 2021 release.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

Mella Dee Presents RYAN, a new project from one of the UK’s most prolific electronic producers. Exploring a darker, experimental side of the mastermind behind ‘Techno Disco Tool’, the new project sees RYAN take things underground with new track ‘Static Movement’. Alongside the track, RYAN has announced his forthcoming EP Connected Experiences, a 4-track collection of essential club tools due for release on August 11 via DJ and Body Movements co-founder Saoirse’s imprint trUst. The landmark release will be the first time the label head has featured another artist's music and is testament to the direction of Mella Dee’s new musical project, RYAN.

Already doing damage in the club circuit with support from the likes of Ben UFO, Shanti Celeste, Midland and more, ‘Static Movement’ sees RYAN. go back to basics with a drum machine and analog synths, ending with an infinite groove. Speaking on the track, RYAN. explains: “Trust the process. My name is RYAN. This is a collection of music I wrote for the purpose of dancing. Those moments we can all get lost together and connect through experience. trUst is a label built on love and connection. I just want to thank Saoirse for the trust she has shown and the love she gives.”

Label boss Saoirse adds: “This is the first time I've invited another artist to release on trUst and I'm so delighted it's from my close friend the absolute don from Doncaster - Mella Dee. Tracks I've been playing in every set over the past year with Static Movement being one of my most ID'd tunes ever. Once I heard it I knew this had to be the first track released on the label from someone else. Ryan is one of the best producers I know, completely and wholly committed to the dancefloor and I'm thrilled I will be releasing the first of his new project under 'Ryan'. I had complete trust in him to deliver a solid EP.”

Real name Ryan Aitchison, Mella Dee reached international notoriety with his anthemic 2017 single ‘Techno Disco Tool’, reaching number 1 in BBC Radio 1’s Dance Music Chart as well as one of Annie Mac’s ‘Tracks of the Decade’ (and was even played during her final show on Radio 1). A year later, the Warehouse Music label head won ‘Best Breakthrough Label’ at the DJ Mag ‘Best of British’ awards and he was also named one of Mixmag’s ‘Stars of the Year’, cementing himself as one of the most sought after names in dance music. Since then Mella Dee has delivered his debut Essential Mix for the legendary BBC Radio 1 series, curated a mix for Resident Advisor’s prestigious Podcast series, performed a debut Boiler Room set to rapturous acclaim, toured North America multiple times and joined the elusive Circoloco family for a summer of shows at DC10 and their momentous festival in Thailand. Ryan has also curated tours for his own Warehouse Music label, taking over illustrious venues all over Europe including his hometown at the infamous Doncaster Warehouse.

Having explored rather obscure and downtempo territory with Mr. G's album Pearls Don't Lay On the Shore earlier this year, CHILDHOOD returns with another discernig 12" dedicated to the dancefloor. Welcome to PLACE OF CONNECT PT.01!

Ed Davenport, who has mainly focussed on his INLAND moniker in recent years, brings back another distinctive side of his personality delivering three unique, raw and pumping house cutz under his real name.

The A-side starts off with Suntazia, an acid break beat anthem that sheds light and euphoria onto any dance floor, and is followed by the true jacking groove that is Inertia.

The B-side is made up of Electricity, a wonderful testimonial to those magic moments on the dance floor, when everybody in the room just moves and moves... beyond the need of unnecessary gimmicks and sonic spectacles.

4/5 REVIEW IN SHINDIG! ''Incorporating afrobeat and a more spiritual sound in amongst its heavy beats and super-tight musicianship''

As pioneers in the burgeoning modern funk scene of the '90s The Poets of Rhythm created new standards, transcending the parameters lesser groups were defined by. With Discern / Define the Poets took their brand of classic funk to the next level by blending elements of rock, psychedelia, afro-beat, jazz and heavy, heavy drums to create a wholly original brand of transcendent, funky soul.

Anyone who has tried to cop an OG in the last twenty years knows how difficult of a task that has proven to be - not necessarily due to rarity, but more to the fact that people simply DO NOT get rid of this album. It's a testament to the fact that Discern / Define has no shelf life. It's a bonafide classic that any discerning funk and soul fan must have in their collection. Now sporting a deluxe gatefold jacket with reimagined artwork, it is an honor to get these back on the shelves of a record shop near you. Cop one today!

"They have the unique power of being able to depart from tradition in order to bring advancement music and unsuspecting listeners, yet still please the purists with home-cooked "Funk-of-Ages" values"
- Lyrics Born

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

A true masterpiece, full of dashing solos and containing some of Freddie King's finest vocals since his heyday in the late '50s and early '60s. Released by Shelter Records in 1972, Texas Cannonball is similar to his first Shelter outing (Getting Ready), but with
more of a rock feel. It covers tunes by Jimmy Rogers, Howlin' Wolf, and Elmore James, tackles compositions by Leon Russell and, more unexpectedly, Bill Withers, Isaac Hayes-David Porter, and John Fogerty (whose "Lodi" is reworked into "Lowdown in Lodi"). King's own pen remained virtually in retirement, as he wrote only one of the album's tracks. In 2007, the Houston Chronicle listed
Texas Cannonball among the 75 essential Texas blues albums.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Banoffee Pies White Label Series is back with a debut EP on the mother imprint from Bristol based Artist, DJ & Talent, No Nation. A deeply attuned junglist delivers a love sick transmission with four gripping, jazzy and skeletal rave compositions following their recent single “Gad Damn”.

Rooted in the sounds of Jazz, Progressive Rock and Fusion, No Nation quickly cemented themselves within Soul, RnB & Old School Hip Hop scenes early on before finding space to express these inspirations through their passion for high tempo hybrids. Now an established Bristol artist and label main stay with international bookings worldwide.

As a producer their music is something to be savoured. Drawing inspiration from music from output on Inperspective and Scientific Wax labels while combining a dynamic and diverse fusion of soulful sounds. Chopped breaks and samples sure to leave a lasting impression. No Nation has featured on labels Club Paint edit series, Bristol-based outfit Slippery Sounds, London leftfield label Diffrent Music and most recently Sherelle's new imprint BEAUTIFUL music.

Amine Edge & DANCE bring their soulful sound to Hot Creations with their uplifting new release ‘It Was’ featuring Pershard Owens backed by a remix from Shermanology. Maintaining a constant presence at the top of the charts, with an impressive catalogue boasting releases on esteemed labels such as Defected, Nervous Records and their very own CUFF imprint, French duo Amine Edge & DANCE have solidified themselves as frontrunners when it comes to the modern house landscape. Up next, their partnership takes them to Jamie Jones and Lee Foss' Hot Creations imprint for the first time with their latest single 'It Was' featuring Pershard Owens, with brother-sister duo Shermanology on hand on remix duties to bring the heat.

‘It Was’ opens with rich piano chords, led by luscious melodies, Pershard’s tender vocals and bright keys crafting a delightful serving of summer house grooves before Shermanology flips the track shifting the focus onto pulsing drum hits and playful rhythms full of energy, perfectly crafted for open-air dance floors.

Right in the heart of our sacred season, we are dropping a gem from the one and only BCee. A veteran of the scene and introduced to us by fellow legend Utah Jazz, BCee has become an integral part of SUNANDBASS over the last decade. From his joyful interviews in 2022, to our joint nights with Spearhead Records in London, BCee embodies the true meaning of SUNANDBASS and therefore will play the closing set this year!


His new EP "Shelter" is the culmination of BCee's long standing relationship to SUNANDBASS. BCee captures the Sardinian smells, the warm sun on your skin, the distant echoes of music dancing over the San Teodoro coastline, transforming it into this four track EP that instantly makes us feel at home.

For the next installment Theory Of Swing presents “ No Hype DJ’s ”. The infamous 90’s Nostagic duo formed by DJ Stenn & DJ Stanic brings the old skool back on the shelf with Tools Vol.1 , a package of 5 secret weapons strictly for the party. Limited to 300 copies.

Written & Produced by St. David & Wildbox Mixed & Mastered by Davide Disanto

8 tracks of genuine mid-90s acid, techno, and ambient for fans of AGE, Spacetime Continuum, Caustic Window & Air Liquide.

Reissue of A3000 "Magnetic Gliding" album, produced by Swiss musicians Marco Repetto and Stefan Riesen, also known as Synectics on Rephlex and founders of Axodya Records. Originally released in 1995 on the Italian Disturbance label, it has now been remastered and proudly reissued for 2023 in a limited edition of 500 copies by Musique Pour La Danse. Enjoy this trip.

Marco Repetto was a member of the world-famous wave/punk band Grauzone. In the late '80s, he delved into techno, ambient, and psychedelic music, drawing inspiration from nature and shamanic knowledge. His performances are described as colorful, playful, and mind-opening experiences. His main project now is "Bigeneric," which he releases on his label, Inzec Records.

Stefan Riesen has been a prominent figure in the Swiss techno scene since 1995. He is the founder-manager of Phont Music, SuperBra, Morris/Audio, Floppy Funk, and Speaker Attack. He has (co-)produced numerous tracks under various aliases on different labels, including Box Blaze, Flaptrack, Hooper, Nylon, Sonic Tourism, Spin, A3000, Box Blaze & Deetron, Dialogue, Lausen, R.B.R., Sidestepper, Silver Zone, Skank Burner, Synectics, and more.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

The wax is hot. The tunes are massive. Oath’s sub-label, Last Year at Marienbad, dispenses a foursome of punchy house tracks for its fifth release, lovingly crafted by some of the genre’s finest producers.

‘The Way We Flow’ by Sam Paradise pairs detuned, lo-fi samples with thumping kicks, and muffled drums. Just when those innocent lo-fi elements simmer, the drums slam back into your periphery harder than ever, making for an absolute dancefloor smasher.

‘De Nuit (3 A.M)’ by Nu-Cleo descends deeper. Swinging drums and chocolatey, indulgent keys lay the basis for a hypnotic acid bassline. Real tension builder.

Flipping over to the B-Side – careful, it’s hot – is ‘She Wrote’ by Gloved Hands. Seemingly just a ride through a well-made bouncing synth and house groove combo at first, this track soon shows off Gloved Hands’ knack for leftfield flavours. There’s an unexpected trap-esque vocal that gets re-contextualised for the club alongside piercing synths and a bulging broken beat.

‘Hard Deep’ by Rick Wade is an obvious one. The stalwart of the house scene serves up another of his zesty, masterful grooves. Shimmering, effortless keys steer a tight drum groove while a subtle bassline nestles between the kick’s low end.

Four cuts from four house experts. Is there much more a dancefloor could ask for?

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.

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

With one foot planted in jazz and the other in the township groove of Mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.

Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two records in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group the Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, Butterfly (1975) and The Battle of Disco (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jaw-dropping solos. With music trends shifting dramatically in the late-1970s, the title of The Battle of Disco was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.

For enthusiasts of African music from the 1970s, a full appreciation of the continent’s output is incomplete without South Africa’s pop-jazz sound providing a regional counterpoint to the funk experimentation of West Africa. Reissued for the very first time, Bra Sello returns in 2023 with limited replica editions from Afrodelic using master tape sources from the As-Shams/The Sun collection. Afrodelic’s unique edition of Butterfly features a previously unreleased track on Side B.

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).

‘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.

While digging for music at Snickars records in Stockholm, local producer, DJ and promoter Maya Lourenco aka Parallax Deep came across two classic goa/psy tracks.

These were ‘Gobi Desert’ by 100th Monkey & Tristan (released on Matsuri Productions in 1995) and ‘Bunker’ by Four Carry Nuts (released on Aurinko Records in 2000). She took the records home and began working on creating her own edits by expertly slicing and re-arranging different sections of the tracks and coming up with her own unique versions staying true to the original identity, giving new life to two classics from decades past.

Introducing 'Feel It': A long-awaited release by Rossi., with a remix by Garret David.

After captivating audiences with its irresistible energy and infectious hook during special moments of summer 2021 & 2022, Rossi.’s highly sought-after track 'Feel It' is finally set for release. Created in his infamous garden shed studio in 2020, this long-awaited track embodies raw authenticity and artistic brilliance.

On the B SIDE we have an instrumental version, plus an extra layer of flavour as Chicago-based hero Garret David brings his raw house & garage sound, completing the package with a bumpy remix.


DJ Feedback:

Mason Maynard - really like the remix.
Harrison BDP - Sick ep! Its the garrett david remix for me :)
Scott Diaz - Garrett’s mix is sweet, which obviously is not a surprise at all. Got a real old UK garage vibe to it, kind of quirky like a Confetti record.
Make A Dance - Wicked stuff original is the one for me.
NIKS / BAD / Rinse FM - Garrett David remix :)
Nogla - Garret David remix is wicked
Thabo / Home Again - Liking the remix a lot.
Nicolas Duque - Wicked work from Garret in there, nice vibes, shuffley and still with his chicago vibes, tbf I prefer this one to the og but both are good :)

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

Nina Kraviz returns to Rekids with remixes of ‘Taxi Talk’ from David Löhlein and Sterac Electronics.

In the years since Nina Kraviz dropped some of her earliest music on Radio Slave's Rekids, she has become a bonafide global superstar. Founding two record labels трип (trip) and Galaxiid, she regularly headlines the world's largest music festivals and has continued to stay at the forefront of electronic music.

'Taxi Talk', initially released on Kraviz’s lauded eponymous debut LP in 2012, still stands the test of time with its spoken word vocals and smoky deep house grooves. Remixing the track alongside its reissue is Vision Ekstase founder and Lehmann Club resident David Löhlein who turns in a fresh remix, and Dutch techno mainstay Steve Rachmad, who unearths a remix made under his Sterac Electronics guise that had, until recently, been unreleased.

Löhlein’s remix sees the Stuttgart-based artist reach for his trademark ’snake sound’, delivering a sleek version flipped into a quick and urgent cut with pulsating synths and dynamic minimal drum funk. Sterac Electronics brings a distinctive sense of electric funk with a boogie-tinged remix full of colourful synths and hip-swinging drums that cannot fail to light up the floor.

John Howard was one of the best and most creative DJs of the west coast house scene back in the 90’s. His mixes and productions were full of house groove, soul, breaks and jazzy rhythms. This new series on Repeat contains of three parts including Howard’s best productions. These tracks are all huge influence for many producers that later discovered these kind of psychedelic house grooves on European based DJ sets… John Howard was on his own journey much ahead of time and his music still sound absolutely incredible 25 years later… Mesmerizing release.

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

The mysterious Henk Donkers conjures up the 69th release on WOLF Music. No-one knows where the promo came from, a Dropbox link landing in the WOLF HQ inbox labelled, ‘With love, Henk Donkers x’.

Crack the vault to find some slick, sultry, steamed up window biz from this mystery entity, ranging from a soulful 2-step burner featuring Ell Murphy (we’re still trying to track Ell down to shed some much-needed light on this conundrum), to an acid-tinged melon twister on the A side.

On the B, Henk teases further with that red-light basement feeling, blending breakbeats with heartstring hitting sweetness, before closing it out with a spoken word, psychedelic trip.

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.