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When Cicadas appear in the area they cause a huge uproar. It’s hard to escape the distinctive noise these critters make, reaching up to 120 decibels. The hypnotic, trance-inducing sound disappears with the insects. A few months after Cykada's explosive debut, the world was hit by turbulence and from Cykada there was silence - fortunately only seemingly, because the next cycle began underground, in the privacy of the studio. It was there that the cicadas matured, waiting for a metamorphosis.

The year 2019 was very successful for Cykada, with a brilliantly received debut album, concerts at numerous festivals in the UK and Europe such as Glastonbury, Wilderness, London Jazz Festival, BAM Festival, La Defense Jazz Festival or Love Supreme Festival, along with constantly composing and preparing material for the second album. As the musicians entered the studio, the coronavirus pandemic was already in full swing across the globe. It was clear then that the world would never be the same. With increasing restrictions Cykada went underground, waiting for changes to surface again. Unfortunately the expected change that was happening seemed only for the worse - Brexit and its socio-economic consequences, worldwide disinformation, accelerating climate catastrophe and Russian invasion of Ukraine. The collapse of the old world order is the perfect moment for metamorphosis and with this message Cykada steps out again into broad daylight, matured and carrying a message with their long-awaited second album “Metamorphosis”.

The meaning behind the title is multifaceted. It refers both to changes taking place in our society and changes to our world as nature defends itself from human stupidity and greed. It is also a reference to the personal and musical development of the band members in that difficult period. It all became a foundation to bravely attempt to make new beginnings.

The metamorphosis is also clear in the musical aspect of Cykada. Their debut album was already difficult to shoehorn into specific genres with their sound that balanced jazz, electronics and elements of global music styles. With the second album their eclectic style has evolved into something distinct and innovative, combining folk/jazz song form and improvisation with heavier sounds inspired by sound system culture and rock. The band grew into a septet thanks to multi-instrumentalist Rob Milne, expanding the horn section to 3 instruments and galvanising its sound. But the biggest change that happened compared to the first album is the singing of Cykada leader Jamie Benzies in singles “So Divided” and “The Crack in the Bricks”. Both songs carry an important message, showing us that the changes in the world are already happening and that only we can make it head in the right direction. This unique sonic mix along with the message unleashes a powerful energy that the musicians want to send to and infect every listener.

A new edits series begins from our chums over at Santo Tomas. 2 heads down, dancefloor focused club swingers. Woof !

In 2021, Los Angeles trio Gabriels arrived in a whirlwind with the loose-limbed vintage soul jam of ‘Love & Hate In A Different Time’, a song that could have dropped in almost any era. A stone-cold classic, it introduced a band so much more than just the sum of their supremely talented parts.

For the first time, ‘Love & Hate In A Different Time’ is now getting a special 7 Inch release with a previously unreleased live version of ‘Spanish Harlem’ recorded at BBC Maida Vale studios for a Gilles Peterson 6 Music session.

Just a handful of live shows deep, the spotlight swings and lands squarely on vocalist Jacob Lusk. A man who demands attention with a presence and voice of a gospel choir. That rich vocal swoops and soars through the pitches effortlessly matched by an on-stage persona that’s intensely likeable.

A bonafide star by anybody’s reckoning. Two acclaimed EPs deep and yet barely out of second gear, Gabriels have moved beyond mere promise to become one of 2022’s most essential new acts.

Press / PR:

“One of the most spectacular voices you will hear this year... Set to be 2022’s word-of-mouth hit” - The Guardian

“A sound that’s unlike anything else out there” – The Times

SOLD OUT every headline live show in 2021 and 2022 so far in seconds. Gabriels will also support Celeste on her sold out UK tour in the spring of 2022.

Love And Hate In A Different Time was playlisted at 6Music Arielle Free’s TOTW on Radio 1, other supporters included Annie Mac, Nick Grimshaw and Adele Roberts

Syncs with Reebok and Gucci campaigns

Breaking Act - Sunday Times Culture feature

Included in The Guardian’s 2022 Tips

NME Radar feature & NME 100: Essential Emerging Artists For 2022

KCRW’s 2021 Breakthrough Artist

Ones To Watch – The 25 Artists to Watch

SIT returns to Amphia with a new release. “Urban Chronicles” comprises 4 tracks, each with its own distinctive sound reminiscent of early techno and house electronic music.

The A side launches in full swing with “Synth City”, a colorful, groovy tune, where vocal elements and airy synth lines blend together seamlessly. “Dreamworx” continues in much the same fashion, adding an introspective counterpoint.

“Parallel Pulses” and “Fabricated Odyssey” make up the B side, quirky and syncopated, with heavy bass lines and lively percussions.

More than any other release from the catalogue, Amphia 025 is an exploration of instinct and emotion.

The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.

It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.

The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.

Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.

We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.

The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)

Enjoy the music and play it loud!

Lars & Maarten

The interstellar cosmonauts of Staatseinde create a theatrical mix of pulsing electro with nostalgic hopeful synthlines, all performed live with synthesizers, a sequencer and tantalizing vocals. From Wave to EBM, from NDW to Punk and everything else in and out of the box. It is like walking into a club meeting Kraftwerk on speed and The Sex Pistols on acid.

Their new release “De Nieuwe Golf” is characterized by dystopian prospects and hopeful sounds, confirming Staatseinde’s name as the founder of the “Neue Niederländische Welle”, in other words the New Dutch Wave.

The uplifting italo rifs in opening track “Grauw” take you on a journey through a gray world in which color cannot be taken for granted. Minimal wave track “Einzelganger” makes you feel like an outsider who can’t keep up with society. “Geef Me De Tijd” sounds like a schizophrenic dreamer swinging casually, but ending as a hard hitting track. Dystopian doom and pessimism is captured in EBM/techno floor filler “Doembeelden”. The raw West Coast Sound of Holland infused “La Haya” is a tribute to the city of The Hague which calls out on everybody to get wasted. The epic ode to space travel “Ruimtevaart Vooruit (2022 Refix)” is back in a rendition inspired by Rude66’s 2010 remix version. “Isla Inutile” is a dark and tropical delirium. In the hopeful “Alles is Weg”, Staatseinde takes you from the downfall on the way to…?

Staatseinde’s “De Nieuwe Golf” holds up a mirror to humanity…progress has not helped us any further. There is hope…but will this new wave be on time? Or is it already too late?

Long-time house music producer, DJ and journalist Anthony Teasdale is back with a new four-track EP for London’s Pamela Records.

The lead track is ‘Tango de la Boca’, an uplifting house tune with an unforgettable piano line and a groovy disco beat. Named after the barrio of La Boca in Buenos Aires, the tango feel is supplemented with layers of percussion, electric guitar stabs and moody strings. So far, it’s been played in clubs and on the radio by DJs like Rocky, David Holmes and Richard Sen.

“I think this is the most uplifting record I’ve ever made,” says Anthony. “Hearing those piano lines come in on a club system is a massive buzz.”

Second up is ‘A Pavement in Palma’ – a chilled jazz-house track. Inspired by lazy afternoons in Majorca’s capital, its swinging beat is joined by electric piano chords, live bongos and a bassline you can’t help but move to.

On Side B, we set sail on the good ship disco for ‘Deep in the Forest Something Stared’. Opening with bucolic bird noises – referencing the title – the track adds ’80s-style bass, glockenspiel melodies and soothing strings. It ends with a haunting piano motif that’s well worth the wait.

Finally, we return to 2023 with ‘It’s 5am Somewhere’, which blends old-school Roland 909 drum beats with minor chord synth stabs and rumbling piano melodies – plus an atmospheric breakdown guaranteed to excite any dancefloor.

Anthony says: “The EP reflects the music I’m listening to at the moment – which goes from classic techno to uptempo disco-house (and lots of synth pop!). The fusion of beautiful, often brittle, melodies with percussive house beats sets these records apart. And they sound as good on a dancefloor as they do in headphones when you’re relaxing at home.”

Florentino announces Kilometro Quinze, a brand-new EP out 20 October. The five-song project will be Florentino’s debut EP on XL Recordings as part of the iconic house bag series. It includes the celebrated single “Constrictor (feat. BAMBII and KD One)” and a newly released single “Pressure” featuring the Mercury Prize-shortlisted multi-hyphenate, Shygirl.

Created over a three-year period between Manchester, London, Bogotá, New York, and LA, Kilometro Quinze features bold solo productions from Florentino (aka Yeshe Bahamon Beesley) alongside additional collaborations with Venezuelan-native Baby Cocada and fellow Sangre Nueva bandmate, DJ Python.

A direct reference to his grandfather’s farm near Villavicencio - a city in central Colombia where the Andes meet the plains of Los Llanos - Kilometro Quinze is a total realisation of the riveting, cross-culture club sound that Florentino has carefully constructed over the last few years. By drawing on the vast musical influences of his British-Colombian heritage, Florentino presents a unique sonic world where the darker acid tones central to Manchester’s underground club scene meet the irresistible swing of Latin American dance sounds. Kilometro Quinze is Florentino at the height of his powers as he releases some of his most captivating, innovative music to date.

“Bumpers” is the latest EP on T4T LUV NRG by DJ Autopay, the alias of musician and DJ Russell E.L. Butler. All of these tunes were written with DJs and blending in mind—like bumper cars, they are fun yet emotionally charged and built for unexpected collisions of sound. “More Femme, More Masc” is a queer non-binary anthem with heavy Baltimore-influenced vibes, written by Russell during the pandemic in a time of peak vulnerability, their voice cracking throughout. The track is an interpretation of “Fast Car” by Tracy Chapman and “Sometimes I Rhyme Slow” by Nice & Smooth but sounds like nothing we have heard before. Tropes 1, 2 & 3 are all house instrumentals in the spirit of the golden age of American house music yet interpreted through Russell’s unique lens. These cuts would have been as at home on Guidance records years ago as they are today on T4T LUV NRG, evoking the swinging dance beats and heady vibes of producers like Callisto and the early Large records by Kerri Chandler and DJ Rasoul. Russell has created something truly special for the contemporary dance floor with this timeless EP.

Colored Repress!

CLUB U NITE RECORDS presents:
Manhattan Project "Juicy Fruits EP" - 4 juicy tracks full of deepness!
Let's start the jam with "Just Chillin", a shuffle beat monster with a smooth baseline, followed by the raw grooving minimal track "I Need U" that kicks you straight to the dance floor.
The B-side starts with the juicy track "I'm Cumming" which should give you a lot of pleasure with some dope organ chords.
The EP ends with "I Believe", a swing beat track that shows you what oldschool deephouse is all about!

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

Y'all ready to mangle peoples heads??? Most of you are, but not YOU,-YOU know who you are, get out of here with your NU Garage chipmunk vocal Bass-Hop shit...

Mr. Cool aka Louie Fresco aka El Cabrone has some heat right here.
Get it- heat, cause he's from Mexico City, and cause the ep is Picante.

Pride is some dank ass bassment shit right here.
Percussive grooves for days, mind melting sounds and a nice tripped out vocal to round it all out.
Pride has a modern minimal shuffle, and that swingy greasy percussion that the Mexicans do
so well,its even low rumble that hits just right in the booty.

A perfect combo of blended brains and brawn!

On the flip we have the K-Dot. I hope it's referencing some new drug that is microdot acid and K combined in a mind warping 250Mg tablet.
This song sounds just like that, mind bending, face melting grinding madness, it rolls and rolls and evolves and evolves.
Put that record on and just watch people make twisted faces and dance like they are puppets getting their strings pulled.

Mr. Cool nailed this, and I question his sanity, and life choices. Nobody normal makes music like
this.

If you don't like this record now, you probably will in 18 years when it's the jam all over again cause a 65 year old Raresh drops it at Sunwaves 309.

Mind you if we keep this global warming shit up, all our vinyl gonna melt. Live in the moment and buy records now.

The Bladehouse crew is back with Bladhouse IV, offering another slice of the good stuff. Four differently styled out tools spanning from stripped house to peak-time groove and the occasional minimal bleeper on the B Side. Get your hands on this versatile dance-floor weapon as long as it‘s stocked. As Always: No Names - Let it Rip

BHO004 starts things off with a groovy, intuitive vibe on A1. A bumping Bassline dives Deep into hypnotic and subtle chord layers and a thriving shaky beat, perfect for open spaces and creating a lifted atmosphere.

A2 is a hidden stomper. Techy drum loops blend with dubbed-out pad shots, crafting a dark and moody rhythm that builds up to a climax, creating moments of anticipation and release.

The B Side is opened up by glitchy and gritty textures that evolve into a warm body of soothing groovy minimal with an intimate ambivalence. Use this to hypnotize crowds of any form and size.

B2 wraps things up with one more perfectly crafted mood swinger. Repeated percussions come together with a deep pad, gradually clearing up and welcoming mind-bending plucks and bleeps when the main theme kicks in. It creates a moody and meditative vibe with plenty of drive to keep you moving.

Colored Repress!

'DEEP TRAX VOLUME ONE' is a fine selection of 4 edited, remixed and previously unreleased Trax from the 90s.

The EP starts with a re-dub of the classic 'I Need A Rhythm' and gets you flying with warm 808 beats and minimal jazzy riffs.

The second track on the A-side “Reign Of Swing” comes with a deep, warm bass, dope keys and lots of shuffle!

B1 kicks out the subwoofers with 'All I've Got' and makes the crowd scream - Uuhhhh!

The E.P. ends with 'Swing Ting', a brilliant track that takes you into other dimensions with a flying jazzy flute solo!

Bar Musica is a brand new label that promises to inject plenty of charm and originality into the underground house and techno world. The first release kicked up quite a storm from label owner Bartolomeo, and the second release features a trio of great originals by J Paraguai, with a remix from long time electronic talent Bruno Pronsato.

Rumba is up first and is a full fat, corrugated house track with tribal percussion, punchy drums that swing down low and Afro vocals. It is a dynamite groove with roughshod tin pot hits that are carefully treated and bring a lovably wild side to the track. Thesoundsays founder and Berlin based New Yorker Bruno Pronsato has been on the fringes of the underground for more than a decade with inventive EPs and LPs on labels like Hello repeat and Bosconi. His remix is stripped back to a forceful and rubbery techno groove. Blistered synths rip up the middle and spooky voices, trippy effects and manic loops all make it a freaky late night or after-hours tune that will send floors wild.

Ble is then another J Paraguai, and this one is again unhinged and urgent, with intense synths exploding above shuffling, tightly knotted minimal drums and sweeping pads. It's pure WTF music for brave DJs and dancers and is a truly original production.

Then last original Atles is rugged and impactful in the way in combines house and techno into new ideas. It is stripped back to little chopped loops that bury deep in your brain and have you in a trance in no time. As such, it rounds out a fine EP and keeps this exciting new label going off in great style.

Detroit artist Julion De’Angelo steps forward into his own with a new musical offering:the inaugural EP from his new imprint, Maybee Hill Music. Named after the street that he grew up on, the label celebrates ancestral guidance and reflecting on the past, so you can move FORWARD!

Can’t Go Askin is an exuberant testament to Black joy, building and shining triumphantly throughout its mesmerising 12-minute runtime.The track centers on a riff that immediately locks you in, as it stretches and expands with a seductive, propulsive groove, with percussion and keys all floating below a soaring and shimmering Juno. This bold and idiosyncratic interplay results in a jam which takes you HIGHER, transcendent in the spirited tradition of Chicago and Detroit.

De’Angelo completely switches gears for the flip side of this musical offering. Reflecting Cancer Moon is an immersive descent into deep dubby waters inspired by a night walk in the woods. A hypnotic, bare-bones meditation with crazy swing, that explodes into a rhythmic swirl of percussion. Dub delay echoes in and out as we journey deeper into the forest with the moon illuminating our way forward. This EP embodies De’Angelo’s restless urge to constantly seek out new sounds and open up new sonic areas for experience and transformation, with two tracks reflecting two sides of the musical spectrum.

2026 Repress

Pure UKG gold from ’98, as the masterful M.A.D Productions aka M.J. Cole and Darryl 'B' joined forces with the queen Carroll Thompson to produce the highly sought after underground cut ‘Too Late’. With originals selling for £90+ it’s about time a remastered, reissue hit the racks.

Providing a snapshot into the explosion of UKG across the country in the late ‘90s, a melting pot that bubbled up so many classics in its heyday, ‘Too Late’ is straight up, soulful UKG perfection. The ‘Deep Vocal Mix’ lays Thompson’s slick, sensuous vocals over a skippy bumper of a beat, subby bassline and sublime pads. Peaktime, warm-up or warm-down this is an unquestionable garage groover.

Take to the flip for the ‘Underground Dub’. The duo chop up the vocals in trademark style, turn the swing and skip of those hats up to the max, whilst wobbling and weaving soulful stabs to create a 4x4 heater that is guaranteed to have hands drawing for wheel-ups left, right and centre.

Proper full-length outing from Naarm quartet and venerable live show Polito! Though prior associations with Butter Sessions have birthed EP's and compilation appearances, Collapse Phase gathers the most cohesive body of work from the group to date. Self-described as "a meeting of improvised contemporary dance and live improvised techno music, working together to create entrancing performance experiences", the project translates impressively to the long-player format. Holding no pretence with its title, opening cut 'Chuggalug' swirls around the stereo field building upon sustained synth warbles with low-key basslines and breaks propelling the track. As the album progresses from the chug into gridlocked, Mills-ian loops and fast, extra-terrestrial sound design (all swinging 909s + decay), we're also treated to contrasting downtempo acid cuts and dubwise, day-time festival vibes ('Fortune Teller'). 'Nine Lines' layers various patterns in a classy exercise of dancefloor tension building, with an undoubtedly in-the-moment feeling evidencing Polito's live show foundations. Across the board the group showcase their mastering of a kind of addition/subtraction push and pull, but the varying influences in sound design provide an extra layer of depth to the whole thing and cement the Polito brand. On both 'Inside The Sphere' and 'The Sphere Is Collapsing', the dreamier, more reflective edges of 90s IDM are given a nod and these two strike as up there with the best on the album. Head for 'Mercado Waltz' for a super interesting fusion of loopy techno and modular dubstep.

Polito is a collaboration between musicians Robert Downie and Finnian Langham, and dancers Arabella Frahn-Starkie and Hillary Goldsmith.

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.

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

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

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

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

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

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

Italian DJ/producer Marco Faraone returns to Rekids this August with ‘Any Good Vibe?’

Tuscany-born, Barcelona-based Marco Faraone runs the UNCAGE label and event series, where he showcases the breadth and depth of his tastes. Returning to Radio Slave’s Rekids imprint after multiple appearances on the label, ‘Any Good Vibe?’ sees Faraone bring another potent EP of stylish techno.

Leading the A-side is the title cut, with yelping vocals and flaming percussion all adding to the wild energy of the track. The superb 'Ego Kills' follows, with swinging drums, chord stabs, and dubbed-out stylings that suit it to sweaty back rooms. Rounding out the release is 'Ghana', a heavy techno groove layered up with plenty of percussion, urgent synth sounds, and a vocal that adds unease to the intense atmosphere.

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

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

Evelyn spreads her wings and prepares to fly. This is her first offering for the ESP Institute. On side A, 'Tremors' slams together a plethora of seemingly disparate rhythms, organic percussion, field samples, hypnotic chants and a relentless low end punch, that when in full-swing, works some seriously deep sorcery. Contrasting her pounding kick and rolling sub combo are a softer grouping of melodies, soft mallets and muted tones that lay subtly beneath the aggression, skillfully playing with a sense of spatial depth and room size. Its the kind of track that draws you in with meditative bars, concentric cycles that sit ever so slightly off-axis, inducing the mind and body to obsess and regulating its timing, and then drops you into a very intentionally arranged soundstage giving expansive space to explore. On the flip, 'Pregunta' continues this approach of natural versus industrial instrumentation. The consistent machine kick has a powerful but playful tone, the negative space between each stroke evoking a mighty gesture as its note bends in the decay. Set in 3/4, a community of live percussion successively adds and subtracts, each player’s imperfect attack accumulating into a mechanically smeared and addictive loop that toys with peaks a handful of times yet restrains any unnecessary climax for the betterment of a driving groove. Near the end, as the kick and various players mute and the base of the track is given a moment to breathe, its apparent just how layered the production was in the moments prior, as we’re suddenly at home, smitten with the wobbly and lopsided innocence of the foundational percussion. These two songs will push you headfirst into the light.

After the inevitable success of L'Hiver des crêtes (aka season 1 of their major new project celebrating 40 years of approximate punk), Ludwig Von 88 are back for new adventures in a second season entitled Le Printemps du Pogo. This second vinyl album (of the four planned this year) is this time illustrated by LauL (iconic graphic designer of the 80s - Bérurier Noir, Ludwig Von 88, Mylène Farmer, Patrick Topaloff).

Fourteen tracks packed with love, joy, shitty jobs, noisy neighbours, flowery pogos, fried chicken, unsanitary dungeons and a negative carbon footprint.

There are some good traditional Keupon numbers, but also ska, reggae, yodelling (Yodel to Hell), a universal anthem of destructive punk (Youplapunk), swing, the follow-up to Fistfuck Playa Club (New Club) and Kaliman (Kaliman saves the world), and the long-awaited conclusion, 38 years later, to their interstellar hit J'ai tué mon père (J'ai sauvé mon père). Or the hit Let it burn, which we'll probably be able to sing along to during the long hot days to come.

Thirteen of these songs have already been released on the internet (at a rate of one a week, because the Ludwigs like periodicity, and that's why they keep coming back and coming back) but the fourteenth track, Casques Rouges, is completely new to the galaxy.

So here's something to liven up the weeks of holiday that are just around the corner. On the beach, in the mountains or in the forest, approximate punk remains salvific and Ludwig Von 88 are its most faithful servants.

Youplapunk to you all!

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

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

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

Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA

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

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

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

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

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

All tracks remastered by Nick Robbins at Sound Mastering

London based label and collective Cartulis Music announce their fifteenth release titled “Twilight Expanse” by New-York producer Ebeats. A reissue from the early noughties featuring a previously unreleased Ebeats cut plus two new remixes by the legendary Radioactive Man and FOLD associate Voicedrone. The title track is one near and dear to the spirit of Cartulis – an emotive journey through hazy breakbeats, sirens from faraway lands, dramatic narratives battling through each other in a nine minute long piece of music. The rest of the record swings from club-ready techno grooves to various shades of electro – dark and dubby or bright and punchy.

Dennis Quin returns to his own self-titled imprint with the ‘Temptation’ EP, comprised of four sturdy original House cuts from the Dutch producer and DJ.

Throughout the past decade, Dutch artist Dennis Quin has amassed widespread support from many leading figures in the underground house scene through material on the likes of PIV, Cecille, Defected, Jerome Sydenham’s Iconic Ibadan and Kaoz Theory, as well as collaborating with the latter label’s founder, Kerri Chandler, and yet another icon of House, Todd Terry amongst others. Here though, Dennis tips the focus towards his own label to deliver more of his raw grooves, crisp beats, and bouncy bass lines.

Title-track ‘Temptation’ leads and lays down a choppy bass line, euphoric piano keys, classic rave stabs and a hooky vocal lick alongside his signature swinging, robust drum style. ‘Ascending’ follows next and sees Quin lean towards a more percussive led feel via heavily shuffled drums, dubbed out vocal chants and twitchy stab sequences.

Opening the flip side of the EP is ‘Odessey’, this time bringing a wavey, elongated bass line into the limelight, subtly nuanced throughout for hypnotic effect while a bouncy drum workout carries the groove throughout. ‘Love Fiyaa’ then rounds out the EP on a raw and reduced tip, fusing ethereal pad swells and murky bass flutters with a stripped-back and sporadic dub vocals.


DJ Support:

Enzo Siragusa
Archie Hamilton
Chrissy
Okain
Freedom
Severino
Jimpster
Mr. V

2025 Repress

Beste Modus, we_r_house and Unison Wax co-founder Cinthie launches her new imprint Crystalgrooves this October with three raw House cuts.

Berlin's Cinthie has long been a respected figure in the underground electronic music scene of Berlin and further afield, heading up the Beste Modus and we_r_house imprints, as well as Unison Wax alongside Diego Krause amongst holding a residency at the infamous Watergate club in her hometown and recently opening her new record store in Friedrichshain, Elevate. It's clear to see electronic music scene plays a huge part in Cinthie's life and here we see her adding another label to her already impressive coterie of imprints, namely 803 Crystalgrooves, a platform for her own material edging towards more classic, raw House sounds in contrast to the deeper more stripped back sounds heard across the other labels. Leading on the package is the anthemic heavy hitter 'Together', a heady House groove fuelled by a filtered, funk-infused bass line, bright organ chords and bumpy 909 drums, the result is an emotive slice of peak-time house to kick start the EP.x 'Ada Lovelace' follows and tips the focus over to dusty, swinging drum sounds and an amalgamation of choppy disco string and vocal samples all intricately programmed to create a dynamic dance floor workout. 'No Need To Worry' then rounds out the package with murky bass tones, wandering stab sequences and stripped-back shuffled percussion to close the package on a more dark and brooding tip.

Urban Underground Grooves comes back alive after the only release from 1996, this time with St. David, re-opening this beautiful catalog with “A Sample Story EP”.

If you have been educated with the Henry Street or Cajual Records this is something that will transport in that nostalgic atmosphere.

A complete package for the really MPC 12bit sampling lovers.

Urban Underground Grooves is now a sub-division of Theory Of Swing Records, relaunched by St. David for the love of House music.

Get it fast ! Limited to 300 Copies - No repress.

Afterhours. latest release, “Dimensions EP“, is the result of the successful collaboration between Optide and Adar Cohen, showcasing their talents in seamlessly blending Electro, Break Beat, and Minimal genres. In the package, two hefty remixes by Christopher Ledger.

Catering to those with a soft spot for Electro and Breakbeat, A-side’s title track ‘Dimension’ and Christopher Ledger’s Remix are all about driving basslines, robotic percussions and captivating soundscapes. Flip-side’s ‘Hypnagogic’ shifts gears to the Break & Minimal House realm where detailed groves, deep tones and swing are key. Ledger’s remix further develops the deepness of the original tune and expands it over a 4by4 groove.

third ear is u.r.trax's third ever release and first full ep on Trip after her contribution to "all his decisions".

throughout the seven tracks she plays with vocals creating textures, sounds and melodies and above all a clear aesthetic.

"I feel like this release faithfully represents my musical identity. I see and hear my sound becoming clearer and that's very satisfying. If I try to define the overall vibe of the record, I would say that it is like a mood swing, from deep, dark and cold atmospheres to uplifting, higher, sometimes ethereal energies." - u.r.trax

Omni AM presents the long-awaited reissue of “Can We Get / Keep Doing That.” This timeless record sent dance music in a new direction. Euphoria Record’s vaults are open and finally, for the first time since 1997, this seminal tech-house classic is available to everyone for the very first time in over 25 years. This 1997 indie record was Euphoria Records second release – and their first international record. Whether you agree with it or not, many people consider this one of the pioneering records of American Tech-House. Both sides and several mysterious alternate versions have graced the decks of DJs like Evil Eddie Richards, Terry Francis, Derrick Carter, Tyler Stadius, and Magda. The list goes on.

We were lucky. Curve Pusher lovingly remastered the original four tracks from the 1997 studio masters. Then, he went a step further, and remastered some previously unreleased versions – including a live version in Chicago that encapsulates what Omni AM was back then: ambient house. There’s a bit of Chicago, a bit of London, a bit of New York, and a bit of Tokyo in every second of these classic, genre-defining tracks.

A1.
“Can We Get” happily sits with the finest works of Ron Trent, Chez Damier, and Mood II Swing – and goes further, as Omni AM has never feared genre definitions. It opens with classic deep house chords, floating synth pads, and sparse vocals. The bassline is deep and warm. Marky Star and Adam Collins expertly work the percussive effects but always keep the theme simple and clear. Everyone knows this is a classic house track because it hypnotizes you.

A2.
“Keep Doing That” continues the theme with another classic late-night killer. However, this one is totally different – almost industrial, yet clearly housey and ambient. It drives deep into a tough groove that just builds and builds. The dub-influenced bass line gives way to a more angular synth riff that both offsets and adds to the track's forward thinking sound design. It’s dark and dirty, yet terribly sexxxy at the same time. It was and always will be mesmerizing. Once again, musical magic by Marky Star and Adam Collins.

B-Sides
The flip side features two remixes of “Keep Doing That” by UK tech-house legend Mark Ambrose. His bubbly, psychedelic take on the track pumps up the percussive Chi-town groove while going in a distinctly London afterhours direction. Trippy, for sure. Fun for all, for sure. These remixes are guaranteed to make your afterhours weird.

Recut & Repressed on Yellow Vinyl!

Club U Nite Records presents: Your Daily Dose Of Dope!
Brand new 4 track EP in the timeless sound of the 90s.
A1 Is raw and dirty and makes you stumble with the extreme swing! Don't stop dancing!

The second track on the A Side is just 'Delicious' and brings the good old 90s vibe back to your dusty 1210s.

The B-side starts with a load of jazz & funk and brings a lot of deepness with it. Simply the highest pleasure!

B2 closes with a pumpin 'goodie that brings everything you need after many hours of partying ... Depois De Horas.

Elements. is back with its third release signed by Crihan. 'Recurring Figures' finds Alin right in his element, showcasing three purely minimal tracks rich in detail and deeply engrossing textures reminiscent of the golden ages of (organic) minimal circa 2010.

A-side's 'Periodic Arrangement' kickstarts the EP in distinctive, contemplative tones. Drum samples meticulously syncopated amongst a canopy of modulated noises, bass bleeps and dramatic piano chords - they keep the groove moving amidst cinematic soundscapes reminiscent of dark fantasy scenarios.

Flip-side's 'Regular Intervals' (B1) moves closer to micro-house realms. There's plenty of swing and playful sampling while maintaining the same cinematic deepness introduced before. 'Again & Again' (B2) sits perfectly as the EP's closing track, merging swingy, dance-focused drum arrangements with dramatic atmospheres and picturesque tones.

Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.

'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.

Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.

Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.

Overall, these are house tracks made right – a classy release fit for warming in crowds in style.