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Grammy nominated & Defected Records signing Michael Gray is a hugely respected and established British DJ and music producer, and is also one half of the dance music production and remixing duo ‘Full Intention’ who have been at the forefront of Dance music since the early 90s. He’s also known for his solo hits ’The Weekend’ & ‘Borderline’ and recently ‘the Sun’. #2 Soul /Funk /Disco Artist by Traxsource in 2019. Currently his latest remixes include Louie Vega produced Anane - ‘Get on the Funk Train’ (Michael Gray & Mark Knight Remix) which has recently gone to No. 1 on the overall traxsource chart, Serious Intention - 'You don’t know’, Raze - Break for Love, Sylvester - You make me feel (mighty real) Records) and his Sultra Remix of his single ’The Weekend’ (First played by Pete Tong on Radio 1) He has played for nights such as Glitterbox at The Ministry of Sound, Hi Ibiza, Fabric, Downtown Disco and recently for The Glitterbox Virtual festival.

Kelli Sae is a New York born and bred Performer, Singer, Songwriter, Actress, Composer, Comedian and Playwright. Born of Puerto Rican and African descent, her music is a masala of sounds, cultures and influences that drive her instincts.

Kelli has worked with Tina Turner, Paul Simon, Seal, Chaka Kahn, Gladys Knight, Lionel Richie and many more. Kelli is also a Principal Vocalist Monday night’s on ABC’s hit Reality Television Show Dancing With The Stars. Other Television shows she’s worked on are I Can See Your Voice, Rising Star and The Singing Bee.

Producer/drummer Teppo Mäkynen shares a new release with his celebrated alias The Stance Brothers. "On Top" is a solid gold Stance groover which appears on this We Jazz Records 7" vinyl single as two versions. On side A, the track is led by guitar and flute (the latter courtesy of Diamond T aka Timo Lassy) and the flip introduces a soul jazz scorcher with organ & vibes. Both cuts are ripe and ready to be enjoyed by DJs and home listeners alike.

"On Top" follows the remarkably successful Stance sides "Resolution Blue" and "Minor Minor", all part of the ongoing 7" series by the Helsinki-based We Jazz Records. The 7" comes with old school heat-pressed labels and a stylish generic brown sleeve.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

MEET THE CHOIR THAT HOUSE BUILT

The late great Frankie Knuckles once called house music: “church for people that have fallen from grace.” Anyone who has been caught up in the rapture of a true house classic can testify to its power to unify and uplift.

HGC is an electrifying House meets Gospel experience that never fails to get audiences clapping, dancing and singing along. HGC shows bring together a group of outstanding singers, a full house band and DJ, creating an effortless live fusion of the biggest house and gospel tunes that never fail to raise the roof!

House Gospel Choir’s magic is their ear for production, thanks to the songwriters, producers, vocal arrangers and selectors who make up the collective. The choir have been bubbling away in studios across London, working with a roll call of iconic dance music producers, from global house icons Todd Terry, DJ Spen, Grammy Award winner Alex Metric, to Toddla T and UK gospel icon Nicky Brown. Their monthly public Mass Choir open rehearsal, at Rich Mix in East London, has featured guest appearances from house and techno icon The Black Madonna, and electro pop singer Georgia.

The current House Gospel Choir has grown to over 150 members of all religions and backgrounds. They take us to church, literally and metaphorically and remind us, whatever spiritual inclination we may have, of the sonic swells in our ribcage that truly great harmonies can inspire.

We Are One has become the choirs mantra, Founder & Creative Director Natalie Maddix explains “We can’t all speak at the same time and have our voices heard, but we can sing together as one voice and be understood”.

“The choir have a really unique energy. Beyond the uplifting vibes of Gospel Music…they’re like family” Annie Mac

“I’m so crazy about them” – THE BLACK MADONNA

Award-winning International DJ and Producers The Prototypes release their third album ‘Ten Thousand Feet & Rising’. The Brighton based Drum & Bass duo were previously signed to tastemaker label ‘Viper Recordings,’ home to Matrix and Futurebound.

The Prototypes’ potent, hard-hitting production and broadsword body of work on seminal labels such as UKF, Viper Recordings, Shogun Audio, Ram Records, Technique Recordings and Formation. Anthems that have been supported across the entire D’N’B scene such as ‘Pale Blue Dot’, ‘Pop It Off’ and ‘Kill The Silence’.

Their expansive and versatile remixes of acts ranging from Ed Sheeran to Avicii to Friction by way of their sought-after bootlegs of Fisher and Knife Party and unreleased dubplate remixes of Bad Company and Pendulum. Not to mention their extraordinary debut album ‘City Of Gold’ that exploded in 2015, took them around the world several times over and elevated them to headline status.

‘Shadows’ is the first single from the new album, which they explain as ”a throwback to the Hardcore scene from the late 90s, with a piano line influenced by pivotal names through the history of the UK’s rave scene such as Vibes & Wishdokta, DJ Dougal, Slipmatt, and Nookie, to which we added a straight up banger of a bassline”.

Featuring Ulta Music’s singer Lily McKenzie, known for her collaborations with industry heavyweights including Giggs, Conducta and Wiley, as well as featuring on Crazy Cousinz’s 2017 smash hit, ‘No Way’, alongside Yxng Bane and Mr Eazi signed to Ultra Music.

Previously supported by the likes of Zane Lowe, Annie Mac, Andy C, Roni Size, Friction, J Majik & Wickaman, Pendulum, DJ Fresh plus many more.

Limited edition, stocks might have to be allocated! Baker's Dozen is a vinyl series that shines a spotlight on instrumental music and the personalities behind the craft. To commemorate the 13th release in series history, Fat Beats Records aims to focus on thirteen of its most respected producers with the aptly titled compilation "Baker's Dozen: XIII".

After their Grime / Dubstep leaning debut single in late 2018 Intrauterin Recordings mastermind baze.djunkiii and production partner Sascha Müller return with a new outing of their conjunctional COMBAT DUBS project. With „Crystals“ they're coming at us with a special twist, presenting a fascinating crossover of UK Garage and Breakbeat sporting overwhelming basslines and a crystalline, most beautiful and ever cascading synth motif whilst the flipside sees the pair of producers diving deep into raw SpeedGarage / BasslineHouse territories for maximum dancefloor pressure with the aptly titled „Crystals *Speed Mix“.

Initial pressing will be limited to 200 copies on white vinyl.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Daniel Bortz, a staple among electronic music producers, returns with his new album "Stay". After "Patchwork Memories" on Suol from 2013, it's the second album for Berlin-born and Augsburg-rooted Daniel. From his early days of James Blake editing and riding the slow house wave, Daniel has perfected and diversived his production skills over the seven year course between the albums. His range spans euphoric techno, cinematic breakbeats, heart warming electronica and classic deep house, you can witness on his eps for Innervisions, Pastamusik (the infamous Bella Avgvsta trilogy) or even on the legendary DJ Kicks mix series from grandmaster Moodymann, who selected one of Bortz's tracks on his volume. After his three eps (one with his friend and long time collaborator Sascha Sibler and one under his DJ Hotel alias) on Permanent Vacation, Daniel takes the consequential step and releases his second full-length album with the Munich based label. With the 11 tracks on "Stay", Daniel Bortz evokes his teenage years and dreamwalks through his upbringing during the 90's. Musically he brings together what never should have been separated: House, Acid, Downbeat and Breakbeat all rooted in the sample aesthetic of Hip Hop, thereby capturing the full emotional spectrum of life and love. Music that came to stay.

The latest record from Delinquent Delivery sees label-head Stephen Mahoney round up five of Dublin’s most prolific producers. Stuey Lyons, Jon Hussey, Jack Jennings, Stephen Mahoney & Rustal have contributed to Stretching Ohms, the fifth release on Delinquent Delivery. Dancefloor directed techno at its finest.

Stuey Lyøns & Jon Hussey have teamed up for A1, a straight-shooting dancefloor oriented techno work. With over forty years of experience between them,Lyøns & Hussey’s expertise is put to work on A1. Dark, pensive and groove-oriented, A1 never deviates too far from its source, making it a useful techno tool for any DJ’s arsenal.

Jack Jennings contribution on A2 is another dancefloor directed number, featuring a dissonant lead married with a swinging percussive section which creates an infectious groove. Jennings’ production style would be synonymous with dark, late night sets, such as those by Marcel Dettmann or Chris Liebling.

Mahoney’s input to Stretching Ohms is B1, a commanding techno banger. Mahoney’s production style is similar to his DJ sets, delicately blending subtle elements throughout B1 while never losing focus of the main driving components. B1’s direct approach makes it perfect for late night sets.

Rustal rounds the record off with B2, a groovy roller which echoes Detroit through and through. Chiming in as the fastest track on the record, Rustal effortlessly balances a funky bassline with a compelling lead, reminiscent of the Belleville Three’s earlier work. B2 marks the end of Stretching Ohms, continuing on the energetic path set out before.

Stretching Ohms delivers high-octane dancefloor driven bangers of the highest quality. Each track differs in style, but combined they all have similar DNA – they’re all made in Dublin. This release highlights the talent that Ireland has to offer to techno globally.

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

Ethimm scratches the pop, does a pirouette and then takes another direction. Both on stage and in his productions, the young producer from Zurich shows his unique style. After three releases on the cult label Light of Other Days he now shows himself more danceable and club-oriented than ever before. ‘Don’t Go Away’ has already been approved in clubs several times. At peak time the track shows all his power. On ‘Lies (feat. T.A.V.)’ Ethimm speaks directly to us. His pitched voice perfectly intertwines with the beat and the melodies. The slow groove of ‘Island Jam’ is peppered with a penetrating bassline and playful sound snippets. This EP is for DJs and home listeners alike.

Produced by Elisabeth Thimm. Vocals on A1 by T.A.V. Bass on A1 by Reto C. Gaffuri. Vocals on B1 and B2 by Geraldine Roth. B1 written by Warren Doris, Deirdre Heart and Elisabeth Thimm. Mixed by Hannes Bieger. Mastered by Reto Muggli.

Moods & Grooves proudly introduces another new face, this time from the Detroit scene. DJ Eternal Student (aka Marvin Prather) steps up to the plate with his melodic track Hear Me Though and a deep groove entitled Transpose Deep.

Hear Me Though combines a funktastic bass line with some heavy breathing drums, strumming synths, xylophone like keys, and a sexy vox to create a wonderful head bobbing groove all on its own. Hot remixes of Here Me Though come courtesy of Domenique Xander (Berlin) and Deepset. Domenique puts a nice wash over it with panned and echo'd claps, drums, and very dreamy pads to create a stellar remix. Deepset ( a partnership between Brian Neal and Avalon Kalin) provide an up-tempo deep groove with a banging kick and swinging vocal chops to accompany the original vox of the track. A new bass line and funky congas produce a warm and lush version of the original. The synergy these producers had is incredible, all vibing from Marvin’s original version.

Transpose Deep is a climber. It starts off very unassuming with a solid 4 on the floor kick that morphs into solid synthy pads, and a funky bass line before it breaks into a full sprint of these elements, a bass that growls at you, and hats that swing hard.

Timeless periods of industrial rhythm: Diarmaid O Meara and Kucera collaborate to release ‘Shadowmen’ vinyl on Gobsmacked Records

Nightclubs around Europe are shut. Even in Berlin, the clubbing capital of the world, nightlife has been reduced to a simmer. “But that doesn’t mean we can’t have a good time and connect via timeless periods of electrifying and industrial rhythms”, said Irish producer and DJ Diarmaid O Meara. Together with long-time Gobsmacked techno stalwart Kucera, the two have dropped their latest vinyl ‘Shadowmen’.

The collaboration has derived from long sessions in the Gobsmacked cavern studios in Berlin. The result: A 12” that is laid out in the style of the perfect rave – with a breakbeat electronica entry that promotes procrastination, freakish, and intensely introverted thoughts created through pulsating rhythms and ghostly frequencies, industrial rave sounds for those moments of release.

Partying is a huge part of Berlin’s identity

By listening to the vinyl featuring a dark rhythm, it becomes obvious that the duo has been heavily influenced by underground techno nights in Berlin, and also regularly sharing the stage together at international events. With the pandemic-mandated closure of clubs stretching through the summer, however, playing gigs and festivals is no longer an option. Hence, illegal parties have sprung up to fill the gap and infuriated some public health officials and politicians, also in Berlin.

“Partying is still a huge part of the city’s identity”, continued Diarmaid O Meara who has been living in Berlin for over a decade and also organising parties all over the city. “Raves are a much-needed way to blow off steam after a period of isolation but we have to consider a more proactive approach, for instance district authorities making public spaces available to party organisers under conditions that ensure hygiene measures are maintained.”

Although there has been no shortage of digital music events either since the pandemic began, clubbing is more than just watching a DJ set. “Rather it’s about the unique space that’s created by artists and the crowd that are pulled together by music”, said Kucera who has been destroying dance floors across Europe with his live sets since 2004. “In times when people are still feeling more isolated than ever, our latest vinyl with the accompanying music video aims to bring a sense of connectedness and community during the lockdown.” The video imagery has been recorded live using Kuceras machine pattern triggering whilst performing the tracks live.

Unwavering dedication to the culture of counter-culture

The name ‘Shadowmen’ reflects the work both artists have contributed constantly and consistently to the scene over the past two decades with unwavering dedication to the culture of counter-culture. The artwork, in classic Gobsmacked style, comes with a tip of the cap to the global elite who have been successfully driving humanity off a cliff. “We’ve thrown a little apparent illuminati symbol in there for those who’ve been confined too long at home and on YouTube for the past 6 months”, said Diarmaid O Meara.

Both artists are working on a multitude of new tracks and events for the post-Covid era. Of particular interest is Kuceras live visual show for Gobsmacked, with visuals triggered from his machine live-set patterns. This is something he has been wanting to experiment with for a long time now and it started to take shape in the form of visual hallucinations of industrial areas and trains he had been filming while traveling across Europe before the world stopped functioning properly due to Covid-19. Diarmaid O Meara has quite a few tricks up his sleeve, including a new politically inspired alias, where both artists will take centre stage in some wacky antics.

For Dekmantel Festival 2019, The Netherlands Institute for Sound and Vision’s RE:VIVE initiative and Dekmantel teamed up for the third time to invite four artists to bring fresh music to a curation of Dutch archival films. As debuted live in Amsterdam’s Eye Filmmuseum, 2019 featured new scores from Safe Trip eclectic left-of-centre DJ / producer, Max Abysmal, 80s pastiche, keyboard wizard duo, Lamellen, Italian contemporary composer and saxophonist, Laura Agnusdei and heavy-hitter, Identified Patient. 2019’s films were as diverse as the invited artists. Three of the films come Academy Award winning Dutch producer, Nico Crama whose collection is held by The Netherlands Institute for Sound and Vision while Comeback (Poppenfilm) was made by amateur Dutch filmmaker, Otto Laan.

Comes with liner notes inlay and pressed on 180 grams vinyl.

After their 2016 dancefloor burner "Jump," Poirier and Red Fox are pairing up once again for "Pull Up Dat" taken from Poirier's new album "Soft Power." Rooted in a dancehall style, "Pull Up Dat" is full of good vibes with Red Fox confidently leading the dance. Poirier brings a modern touch that relates to the 90's dancehall scene. On the B-side, Patexx is all about delivering an uplifting message with the collaboration "Unity & Strength." As Patexx says at the beginning of the song: "United we stand, divided we fall." Then on the remix tip, young and upcoming producer SIM from Montréal flexes to new heights, turning "Pull Up Dat" into a set-ready banger.



With his first album dating back to 2001, Poirier is a prolific, creative and eclectic Canadian producer / musician with a 20 year journey of creating music. Constant in his albums and DJ performances is a desire to build bridges between different languages, communities, and cultures. His open, uninhibited musical mind means that his works bend boundaries, resulting in compositions that mix several styles and eras. He has now produced a total of 11 albums and many EPs with labels such as Ninja Tune, Nice Up Records and, more recently, Wonderwheel Recordings. Active in Montreal, his successful monthly dance party Qualité de Luxe is dedicated to African and Caribbean music, attracting crowds for over six years. Poirier is also the man behind Bounce le Gros and Karnival, parties with legendary status in Montreal nightlife history.



"Pull Up Dat" is available digitally as a single pack and as a limited edition 7" vinyl record on September 25th, 2020.

Repress!

Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.

When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.

Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!

Another all-time classic from the extensive back catalog of the legendary Miami songstress Gwen McCrae.

"90% Of Me Is You" is instantly recognizable, it's been sampled countless of times by some of the most seminal Hip Hop artists ever (Large Professor, Jaylib, Mobb Deep & more) & is a bonafide "Rare Groove" sure-shot that never loses it's appeal & is always in demand with DJ's & producers. Perhaps it's the pairing of the languid guitar & strings, or Gwen's sultry vocals & that steady breakbeat that keeps people hooked some 40 years after it's original release Whatever it is, it's classic material from start to finish!

Backed here with it's original b-side slow jam "It's Worth The Hurt" this super-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Soul Development AKA Deka Selector is a DJ and music producer from Barcelona. He started playing vinyl and performing as a DJ in Ibiza from 2002 at Warhol Club, Diosa Discotheque and Tira Pallá Bar, and also played twice at international festivals like Sziget Festival in Budapest.

Nowadays he is focused in music production, composing his own music with rhythm machines and synthesizers. His first release was in 2016 called "Poker Hat", and "Roots" in 2017. Now, under the label Sounds Of Mass Distraction (SOMD) Soul Development is about to release his first vinyl EP in September 2020, "Treballa Dorm Consumeix".

"Treballa dorm consumeix" is the new artwork of "soul development" who, at this time, edits as an EP on vinyl format as also on the current streaming nets. The title disc mentions and actually criticizes, the consume urban society where the majority population in the world live.

The author, Javier Ortega Cejas, pretends to generate consciousness about our fail system where we walk: every day, we awake and go to our job posts to spend a huge part of our daily time to generate incomes to later on, spend and spend in objects, sometimes, not really needed. If so, eat, we need to eat, sometimes we get satisfaction just purchasing and purchasing objects totally superfluous. Do not lie to ourselves, to buy, generates satisfaction, but maybe, at a high cost: our health, physical and mental.

As Dalai Lama said with his own words, that, resumed would be: "occidental man spends its health to get money, later on, spends its money to get again health, and lives the present thinking so much on the future that finally, lives like it wouldn't never die, and dies as it wouldn't never have lived".

Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.

Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.

The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.

The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.

Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.

On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.

The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.

Enjoy the music and play it loud!

Yours Sincerely,
Lars & Maarten

Finnish DJ/ProducEr duo Cut BEEtlEz droppEd thEir dEbut privAtEly pressed High Jump 7” EP bAck in 2014. ThAnks to A hook up from lEgEndAry MC, DJ, vinyl vEtErAn And All round top fEllA OxygEn thEy sEcurEd A dEAl with AE Productions And rEturnEd in August 2017 with 12” singlE Droppin’ NEEdlEs fEAturing OxygEn And Soundsci crEwmAtEs AudEssEy and U-GEorgE.

SincE thEn Cut BEEtlEz hAvE bEEn mEticulously crAfting thE rEst of this Album whilE concurrEntly working with ThE Good PEoplE on thEir Cut PEoplE EP rElEAsEd in 2019 on FAbyl REcordings.

BEing thAt nEithEr J MAn or HP LovEscrAtch ArE MC’s thEy nEEdEd somE vocAl AssistAncE And rEcruitEd thE immEnsE tAlEnts of rEgulAr cohorts ThE Good PEoplE along with Guilty Simpson, RAh DiggA, El DA SEnsEi, J-LivE, OxygEn, REks, Truck and REtnA – All of whom wE’rE surE nEEd no introduction. ThE Droppin’ NEEdlEs mAin vErsion from thE singlE is Also includEd for good mEAsurE but thE rEmix rEmAins ExclusivE to thE 12”. EyE cAtching Artwork by thE EvEr AmAzing Mr Krum finishEs off thE pAckAgE nicEly!

Infernal Sounds welcome back the heavyweight Von D, as he delivers the gargantuan three-track Hunedoara EP, fresh off the back of his debut release on Deep Medi. Spanning way back to 004 on the label in which he made his debut on Infernal Sounds with two tracks 'Cross Of Hendaye' & 'Finis Gloriae Mundi', he drives a different style and reflection on this endeavour. The title-track 'Hunedoara' is the crowd pleaser - hitting you with the heavyweight stomping war chant, whereas both 'Akasha' and the textural 'Layers' on the B-side are melody centered and display the more playful side to the French producers repertoire. Having already received the backing from the likes of Truth, DJ Squarewave, and many other reputable artists in the scene, this is a plate that's armed for the dance or for playing at home.

An exchange between several voices of African artists (the Congolese Flamme on guitar, the late Cameroonian Hilaire Penda on bass, the Beninese Angélique Kidjo on vocals, and the dj singer producer
from South Africa Mo Laudi on the mike) gathered for the dance and celebration of this World Heritage work. The most popular anthem of classical music revisited in Afro Pop mode for crowds around the world. About this project, the producer Philippe Cohen Solal (ex-Gotan Project) tells: « When Mo Laudi, a Paris-based South African DJ, joined me in the studio, he delivered a great rap full of positive energy and geopolitical rhymes, from Patrice Lumumba to Biko and from Congo to São Paolo. Then Queen Angelique Kidjo, like a divine diva, fervently sang her hymn "Lonlon" in the Mina language, where the Afro literally meets the Bolero. We will not forget the fine team that allowed me to concoct this sacred cocktail: Flamme Kapaya,
outstanding Congolese guitarist, the Parisian DJ-beatmaker Lazy Flow and the late Hilaire Penda, Cameroonian bass player who unfortunately left us since. Benin, South Africa, Congo and Cameroon meet in Paname, the capital of World Sound, but the musical adventure did not stop there. The remixes take us straight to London with Poté, to Berlin with Daniel Haaksman and to Johannesburg with the super-group Batuk formed by the godfather of the African electro Spoek Mathambo, the kwaito maestro Aero Manyelo and the Mozambican singer Manteiga. At a time when travel is prohibited or
not recommended, let us be glad that music does not need certificates or passports and knows no borders ».

Berlin techno luminary Jamaica Suk announces her most ambitious project yet: Uncertain Landscape.

This 17-track, 4x 12” vinyl release on her acclaimed Gradient label will be released in four installments from Autumn to Winter 2020 and brings together a host of diverse techno talent. She will release a DJ mix featuring all 17 tracks to complete the series accompanied by a film from Anthony Vouardoux. The project is made up of a wishlist of names whose music she has been heavily supporting in her sets over the last few years. “I wrote specific producers inquiring for tracks that would be fitting to the label and also fit the DJ mix that I’m recording from these tunes. I’m looking to promote music that shares the same vision as I do.”

It marks the first original releases on Gradient from producers other than herself, which is a change of tact from her original plan for her imprint. “Initially I wanted to only release my music on Gradient including remixes - but it doesn’t make sense as there’s so much inspiration out there. By expanding the label’s network we create our own tribe.”

Jittery rhythms with a touch of ‘Spastik’ about them propel BNJMN’s ‘Abyssal Surge’ into life, with a big riverbed sound abounding as the track builds through haunting sustained tones and glitching mechanics.

Arthur Kimskii thundering ‘Natasha’ pummels from the first moment, with shuddering sub bass carving its way through the sound field as hypnotic bleeps pulse in the distance. Rapid-fire. Filtering percussive waves accentuate the bassline’s incessant 16ths rhythms, all the while the resonant kicks hammering away beneath.

Wrong Assessment’s ‘The Eight’ is a dissonant avalanche of warped textures, where grunting synth thrusts rub up against industrious pulses and chattering hi-hat patterns weave in and out of the mix. Stuttering bass and cymbal rides complete the urgent feel.

Introspective respite comes from Electro Indigo’s ‘Volcanite’, a stirring piece of broken beat experimentation where graceful pads slide hauntingly over taut kick and bass patterns and beautiful ghostly analog synth notes.

Look out for parts 2-4 coming soon and special audio + visual showcases.

Freshly signed artist named Ian Ash (also know as “H” and Sunny G) delivers a massive filtered boogie house track. So What U Want will also come with a Lord Funk remix which sound a bit more electro funk to blast the dancefloor.

This track is a radio killer and should be loved by many musiclovers including DJs, producers or simply people who like to listen to mainstream vocal house as French touch production. A bunch of samples and played instruments make it efficient and support the
sweet voice of the singer Djemaïli. He is known first as an R’n’B singer, but he liked to perform on this future classic – and you can hear it! Ian Ash is known as a resident DJ of the World-famous Montreux Jazz Festival where he has spun records yearly between 2001 and 2019. Including 1st and 2nd parts of George Clinton Parliament Funkadelic, Spearhead feat. Michael Franti, Doctor L, Tony Allen,Jean Grae, Raphael Saadiq, Will Calhoun, Common,Dj Cam, Mister Mike, Benji B, Souljazz, Andy Smith,Buddah Monk, Jimmy Cliff back band, Jamie Lidell, and Claude Nobs himself! He spun also at Cargo (London), SPACE (Ibiza), NL (Amsterdam), Divans du Monde
(Paris), etc. He surely is in the top 10 Funk DJs in Europe. He also has been stage and studio audio engineer for 2 decades and has mixed a couple of live artists such as Joe Sample, Mandrill or even AIR. He has mixed more than 90 concerts at Montreux Jazz Festival 2002 and deeply participated in producing 4 Days in Geneva by Ohmega Watts
more recently.

The first vinyl release of 2020 on Nang, belongs to the Parisian producer and newcomer to the label, Kelton Prima. The veteran artist has been producing and Djing since the late 80's, also releasing under the alias of D_Tekt. Prima has released on the Belgian label Disco Praline, Chicago based imprint Mathematics Recordings, Pizzico Nobel and also has contributed remixes for Thieves Like Us and Plastique de Rêve among others. Along side him on this release features Hard Ton, the Italian artist, who released previously on NANG188. The duo deliver a cover version of Culture Club's 1983 hit, Miss Me Blind. The release sticks with a retro aesthetic, yet given a modern high impact make-over and features 4 edits.

The "Miss Me Blind" original takes you you on a voyage, straight to a dance floor worthy of the infamous New Dance Show in the late 80's. The upbeat, nu-disco grooves, with Solid bass lines (that later trans into squelchy acid affair) are counter balanced with Hard Tons sublime vocals. The Vintage drum machine sequence is perfectly matched with shimmering synths and guitar riffs.

Second on the release is the The Caribbean House "Vision". This edit takes things a little deeper with a modulating bass arpeggio, that pans across the stereo field. Spliced and pitched down vocal cuts feature in this version alongside chime bell melody and pads that creates a emotional ride.

DJ Rocca, the Italian producer a Nang Records regular, delivers a rhythmic and percussive remix. This is classic Rocca style with retro drum machine programming, and a variety of smooth and silky Italo synth patches. The final edit of "Miss Me Blind" consists of Club Domani's bouncy, bass heavy club version. This upbeat and energetic remix keeping things rolling with break-downs and snare filled drops.


b 02: Miss Me Blind (The Caribbean House Vision) feat. Hard Ton
[c] 03: Miss Me Blind (DJ Rocca Italo Vocal Remix) [feat. Hard Ton]
[d] 04: Miss Me Blind (Club Domani Remix) [feat. Hard Ton]

VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:

Silent Servant (legendary dj/producer):

"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”

Martial Canterel (cult poster boy for 21st century minimal synth):

"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."

Muqata’a (Palestinian beatmaker):

"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."

Decimus (uncompromising esoteric artist):

"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."

Songs for dancing, having fun, and vibing out, B. Bravo's latest project, the "Cosmic Mind" EP, brings listeners to the dancefloor by way of a healthy dose of talk-box, retro synths and irresistable boogie grooves.

Los Angeles producer, talk-boxer, remixer, DJ & instrumentalist, B. Bravo, has been flipping interstellar references and laying down galactic beats for over a decade. From 2009's Analog Starship to 2020's Cosmic Mind EP, the funk in him is alive and well. Born in California with roots in Japan, Bravo combines his love for jazz, soul, hip hop and electronics into his own signature sound of swinging grooves, melodic synths and bouncing analog basslines.

So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but ‘Insane in the Brain’ is a diss track. What has become one of the hip-hop’s most iconic party anthems, and one of Cypress Hill’s biggest hits, started out with them taking offence at Chubb Rock.
He’d flipped some of their lyrics on his own ‘Yabba Dabba Doo’ song in 1992 and the group didn’t like it. While B-Real’s lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb’s expense.
It’s a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group’s producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.

Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper’s instrumental cover of ‘Get out my life, woman’. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, “this may sound just a teensy bit insane in the old membrane, Homer,” in The Simpsons.

The only official 7” of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.

On August 21st rising DJ/producer Haider presents the ‘Endless Clouds’ EP on his own label Breaker Breaker, where pristine future electro meets high tech funk and raw, jacking house. This new release follows praise from a wide selection of world-class DJs and media for his past 12”s, not to mention achievements as label owner, party promoter, canny early spotter of talent and general proactive instigator. Now based in Berlin but originally from Sheffield via a stint in London, there’s a commonality throughout all of Haider Masroor’s music that links both thematically and geographically. His
productions recall both Steel City bleep and its distant younger cousin bassline, using only sparse elements, with beats and bass at the fore, to deadly effect. London is audible too via
the spiky energy of grime and the swinging shuffle of UK funky, and so is Berlin, evident in the sleek sheen and efficient precision.
On ‘Maracuja’ lush pads, pitched-up vocal snippets, bleeps and proper electro beats ride atop a deep, purring bassline that unfurls like giant waves, with sub bass punctuation adding further hefty depth.
The bouncy, punchy beats and pristine gleam of ‘I Came To Destroy’ are somewhere between celestial Miami bass and the aquatic grooves of Drexciya, again propelled by gigantic slo-mo bass tones.
A modern take on the cut-up samples of 90s house, on ‘Grove Street’ Haider mixes elements of classic French touch, Chicago rawness and low fi outsider grit, to create something very enticing indeed.

‘Nordic Soul’ singer, producer, composer and DJ Astrid Engberg feels the light on new album, Tulpa. Overcoming a life-changing brain trauma through sonic explorations of contemporary electronic-organic jazz layered with strings, horns and percussive minimalism. Interplaying between contemporary soul, classical, electronic music, jazz improvisation and her hiphop roots, Astrid sketches sonic landscapes that are both steeped in her Scandinavian roots and infused with the kaleidoscopic hues of her many travels.

Blocaus series is back with it's 8th release, "Gods & Robots" EP by rising French artist Ruhbarb for his debut EP on the label. Involved with labels such as Materia and Odd Oven, Ruhbarb's sound is a mixture between techno, dub and ambient, nurturing a tone that is driving, groovy and dark, but always loaded with great emotional depth. Part of a promising new generation of French producers and DJ's, Ruhbarb delivers 4 fantastic cuts in his own personal style including on the B side two killer remixes from Answer Code Request and Antigone.

Shift Imprint gives a warm welcome to one of the best producers and DJs ever to come out of the UK, nothing more, nothing less than Mr. Allen Aubrey!
The sixth cut of the label is composed by four original tracks fueled by dark, noisy, foggy, groovy, distorted jazzy and funky vibes, accurately named as the “Sleeze Funk EP”, no other title could do the job better.
So, here’s an invitation to transcend the mundane and expand your thoughts deep into the raw sound of the British maestro, Aubrey.

Best before 2021 is a compilation of break tracks bringing together producers from different emerging electronic music scenes. Paris, Geneva, Tbilissi & Saint Petersbourg’s finest underground artists presenting what they do best : Sexy disco samples, low, distorted 808 basses & kicks marked with rolling break loops.

This collaboration hits a new step in the Sample Delivery catalog aiming to open up the label by showing diverse artists from across the globe.

If you haven’t heard of SD before, you can’t miss on us this time. Grab your copy and run that shit worldwide. Peace, Stay Safe

Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Lokois also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.

Having earned BBC Radio 6 play from Gilles Peterson for last year’s track ‘Vortex’ , Japanese duo
Ohnesty today announce their next release, ‘Movin’ On’ EP, out on 22nd May on Highball. The
project unites two influential talents from Fukuoka’s burgeoning underground scene: BRISA, the
adventurous and eclectic producer/DJ who spans everything from nu-jazz to acid house, and shigge,
founder of the Yesterday Once More label.

The EP makes an immediate statement of intent with the title track. Underpinned by a lurching,
mechanised groove, it swings unexpectedly into a stuttering, pitch-shifted vocal cut alongside insistent
hi-hats and the kind of soulful female vocal sample that’s a hallmark of deep house. The track demonstrates Ohnesty’s unique style. On one hand, they’re constantly pushing an audacious sense
of creativity into a progressive-focused track. Yet at the same time, they never lose sight of the
importance of making it sound both engrossing and energising.

Its second track ‘K&T’ focuses those traits in a completely different direction, blending elements acid
jazz, late ‘70s disco and French Touch into their own vision. And finally ‘Need You’ echoes yacht rock
and ‘80s movie scores with sweet synths and the booming gated reverb drum sounds.

The ‘Movin’ On’ EP is completed by a remix of ‘Need You’ by British producer Happa . One of the
youngest artists to have ever DJed at Berghain, Happa’s production talents have also been called on
by the likes of David Byrne, FKA Twigs and Trim.

Ohnesty released their debut EP ‘Time To Be Honest’ last September on Yesterday Once More. It
was followed by an accompanying remix package , which included intreprations from the likes of
Metome and Daijo Kaisei.

The ‘Movin’ On’ EP is the second release from the new London-based Highball Records. Aiming to
highlight essential, forward-thinking new music from Japan, the label debuted in March with
Foodman’s ‘Dokutsu’ EP.

At the end of the 90s, a movement began in West London that birthed a fresh direction in dance music. Though this movement never got mainstream press coverage, never had a crossover chart single, and never really transcended its community roots, there was a unique alchemy at work - a fertile moment of creativity, where a group of friends began to experiment with new cadences, rhythms and distilled influences, crafting a new direction in the attics and bedrooms of their neighbouring postcodes. Their music was a head-on collision between the sounds they had been raised on; the reggae sound system culture of Notting Hill Carnival, the sophistication and sheen of Electro-Funk, Jazz Fusion, Soulful House and Disco, the Afro-Beat sounds of Tony Allen and Fela Kuti, and the raw minimalism of early Hip Hop. Though "Broken Beat" was never a tagline that the producers anticipated, and one that they often publicly resisted, those two words would gradually come to represent the scattered rhythms, rolling basslines and soaring changes that were inherent to this exciting new sound. It's not clear who first coined the term "Broken Beat", but try to imagine how it felt to hear it for the first time; the production was grounded in MPCs and SP1200s, the hand-me-down samplers of the Hip-Hop and Jungle golden eras, and the drums that tumbled out of these machines at the hands of these creators had a jagged, stuttering feel, almost as though the groove was close to collapse.

Mashup to deaf ! Crazy stuff straight from the Momtormouth crew... A crazy sound for crazy people... excessive and speedcore, full of breaks and defenitly a masterpiece to scratch and throw and cut and manipulate... touch your records you deejay !! And cut cut cut ! Pass-Pass style for the big diggerz !!