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Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..
Here though we see the focus on the core family as well as some new additions, celebrating the artists involved over the past five years and looking towards the future with some fresh, hotly tipped acts.

For the fourth installment in the series the label welcome’s Berlin’s queen of House Cinthie onto its roster with ‘6am’, as the name would suggest a heads down, emotive slice of House aimed at those special moments in the early hours of the dance floor, fusing a robust analogue drum workout with bright strings, jazzy piano lines and driving low-end.

Akiko Kiyama’s ‘Dirt Specks’ follows, a typically unique offering from the Tokyo based experimentalist, built around swirling bass notes, hypnotising processed vocals and glitched out percussion before label co-founder Red Pig Flower’s ‘Mental Adventure’ brings eastern-tinged plucked strings and vacillating atmospherics into the limelight alongside rounded subs and a bumpy rhythmic drive to create a smooth, hypnotic trip.

Industrial techno doom jazz meets Touareg percussion and mantric chanting

Soundway presents the unique results of a one-off 2018 meeting in Marrakech between Belgrade-based tribal/ techno/industrial outfit Tapan and the nomadic Touareg electrified desert-blues group Generation Taragalte.

Tapan is not an ordinary “techno” project, rather it escapes easy categorization. It is the Belgradebased production duo of 20/44 club resident Nebojša Bogdanović (Schwabe), and Goran Simonoski, a producer behind music projects such as Belgradeyard Sound System, Piece of Shh and more. Both have been active in the Belgrade music and nightlife scenes since the 1990s, and since 2015 have brought together their diverse musical experience under the collaborative moniker of Tapan.

While performing at the Atlas Electronic festival in Morocco in 2018, they encountered Generation Taragalte of southern Morocco, and recorded the initial music for the Atlas EP in an improvised studio on the festival grounds, followed by final production on returning to Belgrade. The result was the 4-track EP “Atlas”, a dark, desolate and potent collision of the electronic drone-jazz of Belgrade and the windswept, desiccated psych-guitar riffs of the Moroccan Sahara.

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

Italian producer and Fine Human Records label head Dino Lenny lands on Crosstown Rebels for the first time this November, bringing his distinct and personal style to the label on the absorbing Doctor, also featuring a remix from Nuiton. The haunting, emotive vocals of Dino impress throughout on Doctor, chugging groove moves alongside waves of dark electronics and panic-struck, devilish synth. A track crafted to capture the inner workings of Lenny’s mind, transforming them into a hypnotic piece. Nuiton remixes Doctor on the reverse, adding energy to the original with skipping hats and quirky arrangements, building tension that reaches an intense jazzy crescendo of percussion and brass to leave you in a headspin. On the digital release a dub version loses the voice but retains the mysticism. With almost 30 years of releasing records under his belt, Dino Lenny has naturally built an incredible back catalogue of remixes and collaborations. He’s worked with some of the biggest names in the business, yet his productions retain a unique style that is all his own. A true lover of the 80s, when he needs that extra touch he will add his vocals to the music, always trying to deliver something original that will stand the test of time, often opting for imperfect unique experience over precise emotionless never-ending loops. Alongside this, he has remixed huge names like Missy Elliott and Timbaland and has collaborated with legends including Madonna, Wu-Tang Clan, Seth Troxler and Dixon. Lenny has been named as “a wizard of electronic music” by the Chemical Brothers, played live with Underworld, released music on the likes of Crosstown Rebels sister label Rebellion, Innervisions, Diynamic, Cocoon & Correspondant, and is currently signed to Ellum. Constantly evolving his sound, Dino is unpredictable & eclectic.

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

Utopia Music are back for another release and it features the artists who have helped create its identity. Dropping in October, Mikal and Mako are here to take you into the darker months.

Their next release sees label head Mako join Mikal for a punchy a-side titled ‘Under the Earth’ and joins two masters of their craft for a track which is pervasive. Stabs of sub and clattering breaks draw you in whilst the second drop pad heralds back to old Bad Company.

On the flip, Mikal presents ‘Switch It’, with a howling ambient backdrop and ticking patches of percussion. Mikal goes for the dark and moody sounds and in doing so, highlights why he’s come under the guise of Goldie and Andy C. He has already proven his heavyweight formula through a variety of labels, including the esteemed Metalheadz imprint, showing a penchant for the darker styles of drum & bass and he boasts an enviable production standard.

Bristol based Utopia Music have recently relaunched the label and in doing so, have already reaffirmed why they grew to become such tastemakers. With the double-sided single from Break, M-Zine’s hard-lined ‘Equate EP’ and Hydro’s expansive ‘Lateral Thinking’ LP, they’ve delivered a host of releases to wet the appetites of drum & bass listeners who were waiting for Utopia’s return.

Goldie – “These guys are at the top of their game”
Break – “One of the best labels in dnb, very happy to be involved”
Ulterior Motive - “Big tunes”
Spectrasoul - “The quality is always super high”

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

Captivity is the next highly anticipated extended EP by Kush Arora aka Only Now, following a triptych of self-released output in 2019. Continuing the project’s ever evolving engagement with themes of time and existence, Captivity encompasses versatile synthesis, mutant kuduro, widescreen sound design, turbulent cold fronts of power ambient and melodic undertones of black metal.

The product of a two-year period in which Arora was contending with transitional shifts in his personal life, Captivity is a culmination of what the project has explored both in a prolific run of recent material and as a whole, across several years of time dilating, mind altering music.
 
Although shaped by adversity and corresponding sentiments of angst and insignificance, Captivity is pitched at total transcendence. Adopting a meticulous approach to production, a methodology which opens up almost every element to transformation and deconstruction, Arora generates forms which possess a sense of pointillist precision, as well as a keen psychedelic potency.
 
Despite consistency with his earlier output as Only Now, Captivity is nevertheless an indication of Arora’s ability to challenge internal and external assumptions. The introduction of new hardware – namely, the Nord Drum 3P synthesizer – as well as the incorporation of far-flung atmospherics – closing track ‘Clock Lust’ features field recordings from a trip to Kyoto – delivers fresh enterprise and experimentation, contributing to the expansion of a sound signature which remains as unpredictable and compelling as ever.
 
With the eponymous opener, Arora combines fathomless underworlds and riotous breakbeats. On ‘Mutants’ a hyper-kinetic onslaught of percussion, low-end and stray cut-ups of noise break out, building to a panorama of thunderous industrial firmaments. ‘Perpetual Slaughter’ maintains momentum with icy, ricocheting FX and concussive, tribal drums, and then unexpectedly shifts into a poignant outro which brings to the fore the enduring influence of black metal on the project. ‘Bound 2’ is cut with relentless sub-bass and rapid syncopation, resembling an abstracted form of juke music, something that could feasibly have been masterminded by Autechre. With the LP’s finale, ‘Clock Lust’, Arora presents a finale of transfixing 3D ritualism, the lone toll of a bell ringing out into a mesmeric emptiness.
 
Together these form a complete statement from Arora, illustrating the fertile and open-ended territories the Only Now project has arrived at after promising outings on Infinite Machine and Discrepant imprint Sucata Tapes. With Captivity Arora delivers a substantial highpoint and a profound voyage into the world of Only Now.

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

orwegian techno institution Ploink launches annual series entitled Affinity with its debut release featuring names like Skatebård, HndS, Roeglin, Fraunhofer, and Priq. Based in Bergen, Ploink has been flying the flag for Norwegian techno for well over two decades, organising some of the country’s best events and festivals. Co-founded by Thomas Urv and Miss Mostly, the label was born five years ago and has since released music from an array of home-grown talent including Mental Overdrive, KSMISK, Prins Thomas, +plattform, Joaquin Ruiz, Christian Tilt, and more.

Launching the label’s new Affinity series, Berlina Für Techno’s Roeglin is first with “Norm” which opens with glitched stabs, vocals and a tight drum pattern. Picking up the pace, Fraunhofer- formerly known as Dortmund -returns to the label bringing a shuffling rhythm, crunchy cymbals and spacy synths in “Saturn”. Bergen dance music royalty Skatebård remixes “Wake Up” by London-based Scandinavian duo HndS, maintaining the energy with thumping bass and bouncing chords. Tying it all together, Norwegian producer and drummer Priq’s “Area” sweeps in with decayed keys, pulsing percussion and a gripping atmosphere.

birthportal presents its third release featuring tracks from Pete Zapatrón.
Drawing from bright synth stabs, racing arpeggios and housey re-percussions, the adventure makes way through Pete's sonic visions, painting intense firey landscapes, strolling through laid back disco groove, expressions of sincere gratitude, and a quenched drought thanks to the spiritual waters of life.

After their brilliant label debut with "Grow Yes Yes" in 2017, Professor Wouassa now returns with their brand new third album on Matasuna Records.

The Swiss band's career spans more than 15 years, where they have played at many major festivals in Switzerland and abroad. The 11 members of the band have perfected their musical qualities over the years and captivate as a well-rehearsed live band with their energetic and rousing shows. So it isn't surprising that they supported concerts of Afrobeat legends like Ebo Taylor or Seun 'Anikulapo' Kuti.

Their still exuberant creativity can also be heard on their new work entitled Yobale Ma!, which in Wolof's language can be translated as "take me" or "get me". With their new album they take the listener to their musical island to explore the borders of Afrobeat and beyond.

The song Fallou Fall opens the album in a jazzy & big band way, and quickly switches to an afrobeat theme and solo. In the middle the song breaks into an Afro-style pattern, which is performed by Thaïs Diarra in Bambara (Malian dialect) in a traditional Mandingo way of singing. The track ends with a Sabar percussion part - a traditional Senegalese drum.

Yobale Ma is the single of the album, which is inspired by the funky guitars of a Nile Rodger and some typical fast Ghanaian highlife of Ebo Taylor.

The track Thiaroye Gare is about the Tirailleurs sénégalais, a unit of the French army who fought for France in WWII. After returning from captivity they were taken in Camp Thiaroye northeast of Dakar. Corrupt and racist colonial officials led to a revolt, which was bloodily suppressed by French troops.
From the musical point of view the song shows a link between afrobeat and funky James Brown rhythms, which ends in a fast afrobeat style with baritone saxophone and trombone solos.

Beguente Len in the middle of the album is a kind of interlude that represents Wouassa's own way of interpreting traditional afro beats and rhythms.

With the two songs Djongoma and Sama Yone Professor Wouassa leaves his usual afrobeat path to explore the "sound of the islands" (Mauritius, La Réunion, Cape Verde or Cuba) and blend it with their personal and unmistakable style.

With Iba Niawoulo the professors investigate a kind of Ghanaian highlife medium tempo with a chord progression from Serge Gainsbourg's song "Initial BB". The tracks change in the middle to a fast Rhythm'n'Blues beat, which is accompanied by afro guitars. The singer "Mamadou Diagne" talks about his alter ego in Dakar.

In Djougoudja typical afro rhythms are mixed with pure Ethiopian 70's brass sounds and funk guitars. As heard several times in other songs, the track breaks into a very personal and hard to describe Wouassa beat in it's middle. At this time, Mamadou Diagne recites a big slam about the spiritual ideas and the history of the famous senegalese theologian and poet Serigne Touba (Cheikh Ahmadou Bamba). Under his flow some sabar percussions (typical senegalese percussions) build a strong and intense musical rug.

4 track EP “No Bad Decisions” is Pletnev's debut on Cologne based imprint Feines Tier. And here he matches perfectly with label requirements - hidden melodies, dozens of layers and sounds. Truly simple and addictive music for parties with soul, big or small.

For the recent few years Pletnev did a solid statement as a producer with releases for Lithuanian Le Temps Perdu imprint or french labels KUMP and Hard Fist where he always explored a variety of genres melting tribal, EBM and techno into one solid peace of gold. Originally Russian, Pletnev now settled in Vilnius where he represents incredibly booming local scene being a resident of Opium club.

Title tune “No Bad Decisions” is a noisy electronic boogie with drunk arpeggios & filtered bassline. Comemé based Ana Helder delivers more dance floor oriented version of the track. “Almost Equal” continues the general line of the EP with jumpy boogie beat & tribal percussions. “Norton Commander” makes a perfect balance and adds mystic darkness through running sub bassline & sliding atonal bells. And simple 808 beat makes out of tune a perfect trancy option for the late party hours.

Here we are with our 12th vinyl release. We're really proud of our back catalogue, and even prouder to be able to add more to it. And what better way to expand our portfolio than by inviting yet another exciting artist to join our 12" club. And this artist is Ricky Force - a man who's seen it all in the more breakbeat-oriented face of drum & bass, pushing his trademark intricate percussion programming since 1999, releasing quality music on labels such as Reinforced, Repertoire, Omni Music, Pinecone Moonshine, DSCI4 or 117, and now finding home with us.

Without further ado, here's Ricky Force and his latest single - a pair of not your usual 170-BPM masterpieces leaning heavier towards roots vibes, jungle, halfstep, and dub (Ricky's from DUBlin, so it makes total sense). "Ecstasy" starts with a looped vocal bit that leads the listener on towards a thick bush overgrown with full-bodied kicks, sharp, frantic breaks, and a bassline composed of massively booming bits that are bound to keep you on your toes, especially if you have the chance to enjoy it on some proper soundsystem.

"Firehouse Dub" is, in turn, a solid halfstepper strongly rooted in jungle revivalism. It marches slowly and steadily, unfolding some interesting stories on the way - a series of thickly-arranged broken beats, a pack of blares, some vocal bits here and there. Put together, they create an amazing mixture of classic sounds organized up to modern-day standards with surgical precision only Ricky Force is capable of. A true feast for all those into the less polished and more true-school shades of drum & bass.

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

Moon Diagrams is the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Two years after his acclaimed debut album Lifetime Of Love, Archuleta returns with Trappy Bats, a mini-LP that interweaves three brilliant new Moon Diagrams tracks with radiant reworks from Shigeto, Angel Deradoorian and Jefre Cantu-Ledesma. Trappy Bats was largely recorded in a single night as a means to process the intense intersection of Archuleta’s social, political and personal hysteria. Having been arrested for an unremembered missed court date, Archuleta spent 24 hours in a holding cell, offering ample time to reflect on his life, the current state of the nation (the jail televisions were showing a constant feed of the then-active Unite the Right rally in Charlottesville) and the other inmates. Upon being released the next day, Archuleta found himself suffering from a bout of insomnia and feeling the need to process everything through music. Here, Archuleta is in his freest and most grateful state, channelling the turmoil and confusion he was experiencing into an unencumbered fit of creativity. It’s pure, unadulterated escapism with an even more callous palette of sounds than before, clearly split between two moods. On what you might call the ‘up’ side, the title track could be the sonic spawn of Not Waving and Terrence Dixon: a snarling mix of percussive clatter and washes of orchestral tones coalesce into a pulsating groove across its almost 12-minute runtime, the underlying ’80s aesthetic making it feel like a turbo-charged Shep Pettibone remix of New Order, looped to infinity. Detroit electronica don Shigeto goes even further and implodes the track into a kaleidoscope of bone-jarring, viscerally giddy dance music. Over on the ‘down’ side, ‘Wipeout’ is a slow-motion waltz of dusty piano and clattering percussion loops that coolly stumble along with the woozy, nocturnal flare of The Caretaker or Philip Jeck. The haunted reverie ventures even deeper with a beatifically electrified ambient re-imagination by Jefre Cantu-Ledesma. Daisychain’ goes almost completely off the grid, offering up a sweetly submerged slab of constantly evolving murkiness in the vein of Demdike Stare or a dosed Andy Stott. The sweet shuffle levitates even higher with a celestial re-interpretation by sonic visionary Angel Deradoorian, formerly of the Dirty Projectors. The end result is an extended traipse through Saturday evening fever-dream techno, Sunday morning cigarette jazz-pop and every blank thought in between.

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

Nark, aka Kevin Kauer, has headed up the Bottom Forty imprint since 2017 working with artists such as Doc
Sleep, La Fracheur & Léonard de Léonard, Ali X, Ximena, Alisu and Shit whilst maintaining the philosophy
oflaying down tripped-out, eccentric productions without conformity. Inspired as a young gamer and fueled by
the inspirations of travel and gigs today, Nark has cultivated a set of sounds and ideas that have come
together to form his creations today which include releases on labels such as Nein Records, 2MR and Bottom
Forty in addition to remixes on Soul Clap, Friends with Benefits and Love Story. ‘Do You See Yourself’ sees
Nark invite Mexico’s Thomass Jackson who holds releases on Feines Tier, Gomma and his Calypso Records
imprint in addition to Ali X and Palomo.


Title track ‘Do You See Yourself?’ lays the foundations for the EP delivering entrancing modulations, chuggy
rhythms and eerie vocals taking small stabs at vanity culture, while ‘The Playing Field’ seethes rattling
percussion, acid fueled synths and hypnotic chanting alleviating the senses. The Playing Field’ was inspired by
a long night out listening to Optimo DJ in a dark warehouse and it was made later that morning as something
to fit into a long, building and cathartic set.


On the flip, Thomass Jackson’s remix of ‘Do You See Yourself?’ maintains the stirring style deploying stabbing
bass notes, meandering waves and undulating unearthly atmospheres until Ali X x Palomo round things off
with an infectious remix fusing shaky, 808 drums, effervescent grooves and bright 303 flavours throughout.

Casino Times? aka Nicholas Church and Joseph Spencer
from London have been betting against the house for
close to 10 years already, winning big with releases on
Wolf Music, Needwant, Omena and their own Casino
Edits label. The pair also hosts the radio Show “What’s
My Derivative?” on Bloop Radio.
Since Mireia Record’s big cheeses RSS Disco have been keen to gamble with the Time’s
music, routinely lighting up dancefloors with it, a loose connection and mutual admiration
formed over the years and eventually lead to this fine record here.
RUSH & KAWAI
Casino Times demonstrate their cunning yet natural and flowing sound with two originals:
“Rush” and “Kawai”. Both tracks are a proper trip of its own, psychedelic pinball machines
that’ll catapult you to the further edges of the known sphere.
An arpeggiated melody line leads the “Rush”, while a rock solid foundation of hard hitting
drums keep you steady. The melody filters into acidic fringes and a strange voice guides the
traveler to the core of this outer-body experience.
By intertwining a pulsating E-Bass with sharp percussions and a brazen guitar chords,
“Kawai” steers the travels even further out of world’s reach. A whole ensemble of sirens and
vocal fragments warn of imminent rapture. After this, it’ll be hard to return to the mundane.New Release Information
KAWAI (Conga Fever’s Belgian Fries Remix)
Leading the string of three remixes is Mireia’s Conga Fever. Known by now for impeccable
and inspired productions he might just have outdone himself again with this interpretation
of “Kawai”.
Taking cues from Belgian New Beat while sounding unconditionally modern at the same
time, Conga Fever has crafted a bona fide festival anthem. After confidently building up
tension and taking his time in the breakdown, the remix manages to release an incredible
amount of energy. We’ve seen people out of their minds and literally stage dive to this one.
KAWAI (Rigopolar Remix)
A new face and dream cast to the label: Rigopolar aka Menio Brown. The Brooklyn-based
producer and DJ has been on our radar for some years with a string of captivating releases
for Tom Tom Disco, Nazca Records and an upcoming EP on Duro. Especially “Sun Of
Lemuria’s” hypnotic brittleness turned our heads.
Adding a new high point to his repertoire, Rigopolar’s take on “Kawai” is an expansive, dark
journey into the void. Powerful lasers and strobe lights appear to lead the way, emergency
broadcast voices beckon the dancers to the floor. The clobbering bassline and twitching
melody help to reach previously unseen heights.
RUSH (Filburt Remix)
Working his signature slow-burn magic on his remix of “Rush” is Filburt. More than happy to
welcome him back to the label. The O*RS label head, DJ and producer is responsible for
some of our favorite material in the past and does not disappoint with this remix either.
Lush pad sounds oppose salient drumming, slowly tightening the atmosphere while a robotic
voice evokes a melancholic mood. The whole night’s rooted on this fervid bassline and it’ll
carry you into next Monday

2024 Repress
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.

Kusht surfaces with a playful release full of tottery synths, crisp percussions and mind-bending samples.
On this 6-track LP released on almost occult YNFND from Germany's ever rainy baltic coast, the Scottish producer easily blends bluesy guitar riffs
with wailing electronic pads. 
Shuffled backbeats melt with ominous samples into a sticky glue, trapping every listener into a bouncy dance.
Kusht can already look back on a vivid and versatile back-catalogue but still manages to top it off with a many-sided and thought-out work of art in his signature style. 
This 12" full of folkloristic beats has what it needs to become one of this year's secret weapons, with early support of some of Germany's acknowledged tastemakers.

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

When we talk about Tullio de Piscopo (Naples, 1946) we’re talking of a living legend of drums, whose career dates back to 1969.

In 1971, tired of commuting from Naples to Milan, he moved to Milan for good, where he joined as a drummer the group of Gianni Basso and Oscar Valdambrini. Shortly thereafter, he recorded “Fastness” and “Coagulation”, his very first single on a 45 under the moniker of “Jujuy”, for Aldo Pagani’s label “Analogy”, with the catalogue number “TRE 0”.

Recorded in 1971, but only relesed in 1973, “Fastness” and “Coagulation” are two fully instrumental tracks for solo drums and percussions, catching the spirit of the very early Tullio De Piscopo, before he became the most requested italian drummer from 1974 on, starting an incredibly successfull career still going on.

Our detective work allowed us to unearth the actual multitracks analog master and we’re about to repress this absolute masterpiece for the very first time on a 12” format, as the original 45 now fetches a three-figures sum on the collectors market.

Neverdogs welcome Ray Mono and GruuvElement’s to Bamboleo Records this October to deliver their split EP entitled ‘Unsolved Smoker’.

A regular fixture amongst some of the world’s biggest line-ups, from The BPM Festival to Sunwaves and beyond, whilst releasing on notable imprints including Roush and Deeperfect, Italian duo Neverdogs added the title of label owners to their resume to open 2019, releasing material to date from Roberto Surace, Sebastian Ledher, Calvin Clarke, Manuel De Lorenzi, Matteo Gatti, Cosmin Horatiu and themselves via their Bamboleo Records imprint. For the label’s seventh release, the pairing now welcome two new names to the label in the form of rising UK talent Ray Mono, who arrives fresh from appearances on META and Moxy Muzik, and ever-impressing London based duo GruuvElement’s.

Ray Mono opens the A-side as he works bumping kicks, distorted vocal snippets and hazy pads amongst lead track ‘Mandala’, whilst ‘Unsolved’ sees the introduction of rolling percussion, low-slung grooves and snaking bleeps throughout. On the flip, GruuvElement’s introduce off-kilter synth patterns and sharp drum licks with ‘Smoker’, before rounding out the EP with ‘Shiny’, a stripped back and up-front cut fusing organic production licks and ever-evolving electronic melodies in slick fashion.

A regular participant and core member of the CV family since
the very beginning, it was only a matter of time before Simon
Mann would unveil his first solitary vinyl release. Previously,
his appearances on CV’s introductory VA – CVR VI, the
stunning eight-track digital release titled the ‘Shadow Ranger
E.P.’, and performances representing the label both live and
DJing, have allowed Controlled Violence to decipher Simon’s
modus operandi, his artistic milieu, and his sound. Beneath
The Canopy is, however, Simon’s most synoptic work to date,
dancing between labyrinthine environs (natural or
otherworldly), heart-felt progressions, and playful percussion.
From start to finish, the organic elements of Simon Mann’s
artworks present themselves with a sense of wonderment.
The mind begins to lose itself between the defined sounds of
electronic devices, and those derived from reality. Beneath The
Canopy doesn't seek to confuse, but rather define, and
subsequently present the concepts of unity. It summarises the
duality between analogue and digital that occurs in our world,
proving that Simon Mann is both an elite musician, and a being
who is truly sync with the world around him.

May not know Maedon, the artist formerly known as pulsewidthmod, but you will soon; she has been pulverizing select dance floors with live sets since her arrival in Brooklyn late summer of 2018. Shrouded in mystery, there is one thing known about her, she’s a wizard with the hardware driven by some fierce passion for the music.

After having toured across the country on her own, she released a 12″ EP with the highly-respected Detroit Underground. Now she is ready to bring her work to the next level with a hard-hitting EP that epitomizes her sound on Adam X’s legendary Sonic Groove label. The label, of course, is known for delivering some of the hardest and intricate records in EBM and industrial, having releases from Rebekah, Dasha Rush, and Orphx.

Against His Will opens with the uncompromising ‘Illusion’ and its all-out destructive energy. Industrious and unforgiving synths dominate this cut, while a riff shifts in and out of chaos. The unrelenting percussion almost calls out like demons, as if you’re making your way down the river Styx, but instead of a boat, you’re on a mechanical conveyor belt.

Tasked with the difficult job of following that opener is ‘Limited Hangout’ which ends up proving as powerful as the first. A bit more punchy, this track has more body to it, the percussion is enchanting, and through all the chaos you will be dancing and stomping.

Next up is ‘Special Report’ in an attempt to tame and focus the disarray. The track has less overall unpredictable texture, and more EBM flared body banging beats. Still an absolute powerhouse, it uses door-pounding percussion to drive it along with modulated synths and riffs generating a menacing presence.

‘Alchemy’ brings the proceedings to a close. The textured cut is a slow down to things. Well-thought-out and more EBM than industrial, it demonstrates Maedon’s dynamic range of skills. Rhythmic drum patterns sway the beat while swirling and electric modulations percolate and oscillate throughout. The dark stabs evoke an underground feel, and although the track evokes smokestacks and assembly lines, it is inherently primal.

O'Girl aka Ellinor Jackson is back once again on Borft! Her debut left me wanting for more. Like label boss Villa Abo said 'Sometimes you just feel right about it'. Although this 4-tracker is her second record out there the music is fully matured house goodness. Stabs and chords builds up a funky groove on a solid beat foundation in Corners Couch. Proper sunset/sundown dance music. Snap Happy dives right into filtered loopy loops and voice samples. It takes its time so you can get snug and cosy and then unleashes a percussion party right at the end so you'll be smile-dancing and sipping fizzy in no time. Shoddy Shoes is a straight up club joint. Dark wobbly techno bass moves dubby stabs forward while a mysterious mist floats on top. Some strong clap action keeps everything moving from side to side! The last track is a lush French Riviera happy moment. Warm pads, classic house piano and bass action all day long. Smiles everywhere and not a cloud in sight! - Sahpo Ripasso

Belgian artist Philippe Petit joins Radio Slave’s imprint with four analogue techno cuts on his Rekids debut. The Chamonix based DJ and producer Philippe Petit is widely respected amongst the techno community for his plethora of rumbling releases such as ‘Venus’ on EarToGround and ‘Scrape’ on his own imprint Decision Making Theory as well as releasing on Involve and Figure SPC to name a few. With a wealth of experience playing at the likes of Tresor, Suicide Circus, La Graviere, Batofar, Weetamix, Corsica Studios, and Berghain, the sophisticated production he showcases was a natural fit for the Rekids’ Special Projects series. ‘Anger’ rolls in with force and bumping sub frequencies, rattling percussion and jarring keys, then ‘Crystal Clear’ keeps things murky with evolving pads, fleeting highs and rolling low-end. On the flip, ‘When We Meet’ jumps in with climbing stabs, tight hi-hats and galloping kicks, when finally, ‘La Floria’ cuts through with chopped highs, washing chords, snappy cymbals and dreamy harp-esque patterns.

Picnic Record's founder Captn K is back and while he was gone he got a 909, "What are you gonna do with your 909 Captn K?" – "Try doing a bit of house I guess." So with this release the West Australian producer lends his unique style to a bit of 90s inspired house.

Sometimes you just gotta get it off your chest, and with the world the way it is there's a fair bit to get angry about. On R U COOL? Captn K shakes his fist at the sky and gets old school with his 909 and trusty bass synth to let it all out. A rant filled bad-ass-belter that cranks you up and kicks out the bad vibes. It's funny but relatable. It's simple but it's big! Included is a dub version for the club when you want the wriggle without the rant.

On the flip we got Tonite We Flying, a sexy piano driven builder that launches into a vocal filled disco/house track. Amazing husky vocals from Captn k's mate, Britt Bro tell the story of a night out and the desire to be free. Chugging piano n bass, juicy synth swells n sweeps and funky percussion get jiggy with their long time pals, 909 kicks n claps! Together it creates an uplifting energy filled anthem that makes you want to soar into the night!

Let you ears and sub be the judge, chances are you'll find a place for this one in the crate at your next party.

The Pendletons take a bold step with their first full length album, 2 Steps Away, releasing this spring on the Bastard Jazz imprint.

Recorded in San Francisco with a rock-solid band consisting of some of the best musicians in the Bay Area, including guitarist Carl Locket (Shalamar, Rick James) and Star Creature recording artist Elive, the duo taps into a classic soul/boogie sound that rides a wave of '70s and early '80s funk with ease but somehow remains true to the excitement of those classic recordings without being overly nostalgic. The music shines, as does the songwriting, which is honest, undiluted and spiritually inspired. Disco horns, heavy percussion and slap bass punctuate dance floor burners, which give way to sweet soul steppers, making for a blissful balance on the 9 song album.

The Pendletons is a long-standing boogie-funk and modern soul project of E da Boss (one half of Myron & E) and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" on the Slept On record label, which set the tone for the group to emerge... It instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors.

In 2013, they followed up with another 7" featuring K-Maxx, Jacqueline Mari and Songbird Remos and later a very limited flexi-disc release title "Winning Ova You". In 2016, they released the EP "Gotta Get Out". The title track caught the ear of renowned global tastemaker Gilles Peterson, who liked it enough to release it on his Brownswood Bubblers' compilation. In 2018 the group released the Funk Forever EP on the Bastard Jazz label to critical acclaim.

Now armed with a live band with a full horn section, a vast array of accomplished jazz and funk contributors, and a knack for quality song-writing, the Pendletons' sound has shaped into something fresh and unique. The duo release their debut full length album, 2 Steps Away, on Bastard Jazz this spring.

With their 2013 debut single "Vintage Voudou," Conjunto Papa Upa cemented themselves as the torchbearers of a rare breed of Afro-Caribbean psychedelic soul, a clear delineation from the wonderful world of Venezuelan poly rhythms. That original song, named after the short lived but heavily influential Amsterdam brick and mortar record shop that band leader Alex Figueira founded, was a perfect clue into the deep exploration that Papa Upa would begin to take on their musical journey. Like the store itself, known for its solid connection to the musical footprints put down in relatively undiscovered places like Suriname, Curacao, Cabo Verde, Portugal and of course Figueira's native Venezuela, Papa Upa has captured a sound that is entirely unique, a new concoction of influences that at once sound strange, yet totally familiar. Perhaps because Venezuela shared such a rich & diverse mix of sounds from the Atlantic, Caribbean & US, a kindred spirit to their neighboring country, Colombia, an equal in terms of their industry output from the 60's & 70's, yet not nearly as publicized and compiled in recent years. Like many places in the greater Afro-Caribbean nexus, they were musically ahead of their time.


This futuristic mélange of sounds is reflective of Papa Upa itself, made up of musicians from Venezuela, Uruguay, Cuba & The Netherlands, all living, practicing & recording at Figueira's Amsterdam studio, Barracão Sound. With such a wide range of tropical influences, in a cosmopolitan and diverse city like Amsterdam, it's no wonder that Papa Upa's first extended project would find kinship in a collaboration with New York's Names You Can Trust.


Their lead single for the label, a preview of an upcoming full-length project in 2020, features "El Secreto Del Metalero" & the 45-only bonus B-side, "Chicharrón Pelúo." Metalero, or "The Metalhead's Secret" is a fitting anecdote for Papa Upa, with Figueira's synthesized vocals leading the way. It's an allegorical exorcism of a debauched headbanger on a discreet dance floor of a tropical rave. The shedding of a gruff & gothic exterior for the buckle-to-buckle bliss of the changa. Similarly in the music itself, under the cloak of vintage synths and a woofer exploding bassline, lies a frenetic fusion of afro-latin percussion that is highlighted by the intense rhythms of Angola's giantguacharaca (or scraper), thedikanza. At its heart is a sugary sweetness that is capable of converting the roughest of rockers into a tropicalista on the dance floor.

Director Amanda Kramer’s prompts for composer Ben Babbitt’s soundtrack to her enigmatic film Paris Window read like magnetic fridge poetry – “warped ambient bumper muzak tension” – but the results skew closer to some hypnagogic contemporary noir: lulling, low-lit, and laced with lingering dread. Electronics, strings, and percussion swoon and seethe in heady mirages of dreams and delirium, romance and menace. The narrative it accompanies is equally opaque and out of time: two eccentric siblings psychologically unravel through divergent fixations, one obsessed with the hypnotic infomercials of a mysterious self-help institute while the other falls in love with an ambiguous doppelganger.
Babbitt’s background scoring experiential video games (Kentucky Route Zero) and collaborating with exploratory songwriters (Angel Olsen, Weyes Blood, Eartheater) is evident in his versatility and finesse, flowing fluidly between minimal and maximal modes. Like all dynamic film music, the pieces weave a story of their own. Serene synthetic swells decay into murmuring television static and eerie vocal fragments; close-mic’d drones turn acidic then claustrophobic, mirroring sleep paralysis transformed into panic. Babbitt builds a window into a surreal world, seen through shadows and smeared, street-lit glass.

Spread out over two 12"vinyls - this is the result from a two day recording session in Brussels by the duo of Beau Wanzer & Maoupa Mazzocchetti. 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms

Beau says, “We hooked everything up and just pushed play. We didn’t really discuss much about the process….it was very ‘spur of the moment’.” The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms

Alexander Pletnev started an entirely new journey under his own name two years ago. Release after release on forward thinking and respected labels like Media Fury, KUMP, Fleeting Wax, SZE and Hard Fist, he has built a solid discography of incredible diversity - from percussive DJ tools to viscous synthetic EBM to dreamy weirdness.

His latest EP titled Voranto Bros is a long awaited return to Le Temps Perdu and the prime example of refined musical storytelling. Title track is a cinematic tale, a sound novel about two migrant brothers hitting the shores of USA in the dawn of XXth century to became vicious gangsters, broken souls ruling the night of NYC. Dusty tape hiss, off kilter percussions and melodies all alternate to later sink under the weight of heavy drums. While Hope They Wont Come Back is a severe instrumental ballad with low drums, talking bass lines and noisy guitar riffs - five minutes inside confused man's mind.

On a remix front, Cocktail D'Amore's head honchos Discodromo strip Voranto Bros down to bear bones to deliver EBM style dance floor burner. And Harold Boué aka Abstraxion aka Lion's Drums of Biologic Records fame delivers menacing remix for Hope They Won't Come Back, a dark & mystic journey, which unwinds slowly and builds up to unexpected climax.

Like a phoenix from the ashes, the mighty Cécille Records is back, and return with their 2008 club smash, ‘Nesrib’ which launched the career of label mainstay SIS, and here is catapulted into the present day with a remix from Fuse hero Archie Hamilton.

Established in 2007 by Nick Curly and Marc Scholl, Cécille quickly became a trustworthy and steadfast purveyor of deep tech-influenced music. With its reputation for quality unsurpassed, Cécille attracted a
wealth of talent, none so much as SIS. German-born Burak Sur’s origin story is evergreen. Caught up in the rhythms of DJ Karotte at U60 club in Frankfurt one night, he decided that dance music was his life’s mission and began to plot his future. Already a proficient rock drummer, he learned to DJ and produce at the age of 21, releasing his first tracks in 2006.

‘Nesrib’ catapulted SIS on a furious 4-year musical journey which saw him win multiple awards for ‘Track of the Year’, ‘Producer of the Year’ and ‘Breakthrough Artist of the Year’ across the music press. Still
performing at clubs and festivals today, SIS has perfected his live/DJ hybrid show which continues to take him around the world.

For his remix, Archie Hamilton has dug deep into his roots to transform SIS’s original bumpy minimal techno vibe into a fully formed rolling tech monster. Aquatic FX and sparse percussion open the track before that huge growling bass shifts things into high gear. Carefully holding back on the vocal chops, Hamilton carves out a muscular groove before unleashing Williams’ diva lyrics.

PLAYED BY Marco Carola, Martinez Brothers, Luciano, Reboot, Nick Curly, Archie Hamilton

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

Brian Kage’s fourth release on Michigander Music “303 in the 313 EP” features 4 uniquely gritty and acid-soaked manifestations of mid 90’s Detroit. This exercise in analog monosynth mastery directly connects the grittiness of the urban landscape with the raw spirit of creative freedom.

Detroitasaurus starts the record off with a subtle prehistoric soundscape, steadily building rhythmic tension using hypnotic toms and melodic drum patterns. Razor sharp 909 hats hammer down there through the sonic mist as the journey continues to build. Shrieking jurassic trumpets cap off each of the peaking climbs to reveal metallic broken-down structures that are bound together with oscillating 303 threads and a grooving bassline.

Van Dyke Vessel features an atmosphere of textured percussion and metallic analog synths that wind around a deep square bass groove. Suddenly, truncated growling vocal samples start to collect into the catchy phrase “Let’s take this to outer space”. Swelling pads give way to squealing acid as this track transports dancers to a nostalgic melodic dimension.

Delray Dance undulates with thick bass slowly building into a body focused groove as it winds up and gives way to a rugged 303 saw with fluttering Spanish style synth stabs. Classic Detroit pads continue to swell, adding to the tension and leaving enough sonic space for melodic mixes in and out. This tune is the perfect tool to transition between genres.


Zonin breaks the mold by combining old-school electro vibes with a heavy dose of acid and freestyle hip hop. Heavy broken beats are combined with a rockin’ nostalgic bassline and layered party vocals that transports you to the center of the dancefloor on the best night you’ve ever had.

Sonido Gallo Negro has been a mainstay of the current revival of tropical and psychedelic music throughout Central and South America since the first of their three albums was released in 2011. Hailing from Mexico City, a hub of cumbia, chicha, surf and garage music for over five decades, it's no wonder that SGN has such a wonderful and integrated blend of traditional styles that have travelled from the Caribbean, up the Andes, through the Amazon, around the shores of coastal Peru and back through Central America. SGN is part of a long line of artists in Mexico to make these cosmic connections found in the music's terrestrial path, yet are completely unique in their own mystical approach, both visually and sonically. As a hefty 9-piece orchestra, the band is quite capable of summoning a rich tapestry of sounds from an array of instruments of the psychedelic persuasion: farfisa, electric guitar, flute, theremin and, in the case of B-side Niño Perdido, accordion from master Colombian artist and NYCT alumnus, Carmelo Torres. It's the making of a swirling kaleidoscope of sounds and squiggles, all of which ride effortlessly over the fluid percussion and pace of those beloved Afro-Latin rhythms. In anticipation of their next full length release,Unknown Future, Names You Can Trust presents the first 7-inch 45 single to ever be released from SGN, a double-sided dose ofsonido psicodélico, spectacularly swirled into a perfect concoction of old meets new.

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.