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2024 Repress

Fratelli Malibu is an original idea of Andrea De Fazio with the cooperation of Paolo Petrella, drummer and bassist for the “Nu Guinea” live band. Their love for synthesizers and drum machines brought them together to create the shiny world of Ciro Miami.
We could think of Ciro as a neapolitan expat in the american dream, where he discovers a world of excess, flashy cars, cocktail bars, beautiful women, cocaine, gambling, spaceships and videogames that erodes all of his money forcing him to go back to Napoli
completely broke, but with a fistful of wonderful memories.

Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

Paddan's Sigtryggur Baldursson and Birgir Mogensen are lifelong friends from Kópavogur, Iceland, who started as mates on the local football team, then graduated to making music together as teenagers, and even later as young men doing time in the experimental punk collective KUKL, from 1983 - 1986.
KUKL was populated by survivors of the post-punk scene in Iceland in the early 80s, which is well documented in the film Rock in Reykjavik from 1982. The band was released by the Crass collective in London and featured members, apart from Birgir and Sigtryggur, like Guðlaugur Óttarsson, Einar Melax, Björk and Einar Örn, some of whom would become better known later in outfits like the Sugarcubes and their respective solo work and other collaborations.
Sigtryggur has a long career in music, having worked with among others, Emiliana Torrini, Howie B, Les Negresses Vertes, Tomas R. Einarsson, Petur Ben, KK, Kaktus Einarsson, and many many others. He also produces an award-winning documentary music show for RUV called Hljómskálinn.
Birgir Mogensen is a classically trained classical guitarist and bass player who has worked through the years with artists ranging from KUKL to Killing Joke to Spilafifl and Inferno5.
Birgir and Sigtryggur formed Paddan during the 2010s, and are now preparing to release their EP Fluid Time, which has been inspired by their perception of time and space. Birgir Mogensen says, "As a duo, we trusted our musical intuition and were guided by allowing the first idea to remain unchanged during the recording process"Recorded, produced, and arranged by the pair, Sigtryggur and Birgir play basses and drums along with various other instruments.
All recordings are played on live instruments except a modular synth which is programmed in the background of two tracks The duo is joined by the great harmonica and lap steel player Gaukur Davidsson on "Vaguely" and "Bug," and trumpet player Eirikur Orri Ólafsson on "Splash," not to mention the mixing expertise of Vaccines bassist Arni Hjörvar Árnason on "Bug," "Splash," and "Kokka," and sound-mixer Albert Finnbogason on "Vaguely."

Barkley Bandon’s debut album “Love Machine” is a sexy concept album, perfect pop record and an experimental look at club music all in one.

Hard to pin down stylistically, it’s visiting multiple spaces on a colour spectrum, with hues of Sophie’s hyperpop, Hudson Mohawke’s cheek, the nostalgic shades of Oneohtrix Point Never, a nod to Dean Blunt’s DIY aesthetic and maybe flirting a little with the of Teaches of Peaches. But really, it’s carving out a sound all for itself that is like nothing else out there.

The mysterious London producer recently contributed a song on CASISDEAD’s chart topping, Brit Award winning debut album ‘Famous Last Words’ and has worked with London RnB vocalist Gloria on her release Metal, which came out on Gaika’s label The Spectacular Empire.

Working here, on in his own playpen, he shows off his pop production skills on tunes like ‘Green Light’ and ‘Nails’ (collaborations with rising artist Kaleab Samuel from Aurora, Colorado) and ‘You Decide’, a collab with pig$ - the incredible producer from LA who makes up the other half of their joint project Parking Big. Then he flips the approach, stuffs a bunch of percussion sounds in a box, shakes it and lets clanky club bangers like ‘Vertigo’ and ‘Eye Candy’ tumble out.

Fronting the cover we see Barkley’s real life wife as a teen dream - his ultimate Love Machine.

The album will be released on 25.10.2024 on his own label Laterhosen Records on digital and limited cassette tapes.

“That bass… absolutely filthy” Tom Ravenscroft, BBC Radio 6

After a duo of floor-stomping releases, Rhythm by Nature is back for its third release with one of the most prolific producers in the game — Tommy Vicari Jnr. The Sheffield-based musician went from being an enigmatic figure to becoming a true example of musical discipline, boasting a seemingly endless musical output under several aliases. With "Francis Bacon Size Hangover EP," Vicari presents a diverse four-track EP that showcases his ability to traverse various soundscapes without ever losing grip on rhythm.

'Francis Bacon Size Hangover' (A1) opens the EP in pure Vicari style, plunging atmospheric dub-infused pads, delayed drums and competently edited vocal breaks on a cosmos of shifting sound signatures. The result is an infectious dance floor weapon drenched in mind-boggling groove with funky, light-hearted undertones. 'B Doll' (A2) goes a bit jazzier, delivering an analogue-driven, breakbeat-tinted track with intricate percussion and deep, resonant synth work. B1: "Newdays" finds Vicari immersing himself in the essence of house music, powerfully rooted in Chicago's disco and proto-house aesthetics: punchy drums and propulsive basslines keep the track in constant motion while atmospheric textures forge an irresistible soundscape of skillfully layered, ingeniously sampled sounds. Originally crafted in 2004, 'Vommer' (B2) closes the EP by showcasing Vicari's longstanding dedication to his craft — a slow-burning, minimalistic dub track that's as beautifully understated as it is gracefully spaced out.

"Francis Bacon Size Hangover EP" is a testament to Tommy Vicari Jnr's enduring influence in the electronic music scene and proof that Rhythm by Nature is perfectly capable of continuing to build momentum.

Matching breezy, Bossa nova-tinged sophistication with softly spiralling psychedelia, Testbild! arrive in the Quindi lounge as though they've always been there. On their 12th album, Bed Stilt, the Swedish collective cast their attention back to the earlier days of their 25-year trip through sweetly mysterious pop-not-pop rendered in warm tones and shot through with surrealism. It's tricky to get a precise fix on the story and structure of Testbild! The project was spearheaded by Petter Herbertsson in his hometown of Malmö in the late 90s, although the story on their website credits the inspiration and source material to a chance meeting and unpublished manuscript from a retiring scientist. The collective's evolution since then is a tangled web of facts and fiction spun by a revolving cast of collaborators including Siri af Burén, Katja Ekman, Rikard Heberling, Douglas Holmquist, Mattias Nihlén and Petter Samuelsson. Along the way, their music has touched on chamber pop, post-punk and modern jazz with the elaborate harmonies and catchy songwriting charm of the Canterbury scene. The tracks which make up Bed Stilt were in fact track recorded in Malmö back in the mid- 00s, lying in wait for the right opportunity to be brought to light with some delicate overdubs and finishing flourishes in the here and now. The core musicians working on the record were Herbertsson and Douglas Holmquist on a similarly expansive list of vocals, guitars, bass, synths and keys, Siri af Burén on lead vocals and Mattias Nihlén on synths and additional mixing. Meanwhile Tomas Bodén - better known as Civilistjavel - lent some additional synth work as well as mastering the record. Musically, Testbild! stay true to their idiosyncratic approach on Bed Stilt with six immaculately rendered sojourns through lilting harmonies and brushed rhythms, feeling nostalgic but beguiling in equal measure. Theirs is a luxurious sound, not least on the opening strains of 'The First New Years Eve,' which purrs to life draped in silky Rhodes and chiming vibes. Behind this comfortable veneer the enigmatic lyrical themes unfurl through Herbertsson, Holmquist and af Burén's vocal harmonies like fractalized puzzles waiting to be solved. The finger-picking delicacy and languid harmonica of 'Streams' strike a pastoral mood neatly countered by the elegant slide into dislocated ambience for the track's final stretch. By contrast, 'And Her Eyes Are Red' surges with a big beat urgency which plays beautifully with the mellow jazziness of the chord sequences, boldly toying with song structure to dart down curious tangents without losing the immediate impulse of a great pop record. Somewhere in this tension between clarity and chaos we can understand the addictive charm of Testbild! - a band steeped in the considerable craft of making accomplished and unconventional music so very easy to sink into. If that doesn't make for a perfect addition to the Quindi catalogue, we don't know what does.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Samosa Records dips its toes back into the Afrikano waters with Volume 3 of the Afro themed, genre-busting series and features four deadly tracks from some of Samosa’s most trusted lieutenants.

Breaking the ice as the first track of this exceptional EP is Vincent Galgo and ‘African Rebel’. Mr Galgo has clearly read the brief here – giving us a 125bpm marauder that’s a melting pot of unstoppable horns, furious rhythms and an Afro-pop style bass that is the beating heart of the track.

Track 2 is Samosa regular Frank Virgilio who introduces us to his ‘Mistress’. As a straight up jazz-infused, mid-tempo rhythmic chugger, ‘Mistress’ quickly gets down to the important business of racking up the beats and instrumentation. The generous spread of guitar riffs, assertive bass and organ stabs are expertly lifted by the layered and always rolling drums and bongos induce a trance-like state of mind, so be warned!

On the B-Side Samosa newcomer Casper Leo wears his Tribal heart on his sleeve with the enchanting and utterly captivating jangler - ‘Tom Tom’. You can never have too much Kora guitar and ‘Tom Tom’ has lashings of it, with delicious sprinkles of melodic Marimba – perfect for West African sunsets.

Closing the EP off in style is Afro beats grand master, Lego Edit and the filthy-sexy ‘El Safari’. No other producer can take the essence of the Afro beat structure and bend it to their will like Lego Edit can. Like a late night fist-fight in Club Coco Bongo, ‘El Safari’ punches its way out of the doors. A slinky, wily alley cat of a tune that digs deep with its claws and doesn’t let go and another masterpiece from Lego Edit.

Afrikano Vol.3 has done the impossible and set the bar even higher for this wonderfully diverse Samosa series. We want more. We want ‘4’. With this in your record box, you’ll come with a warning.

how do we live in times when nothing seems safe, how do we listen to music when rockets and bullets make the air scream, how do we produce music when the building with our studio is simply no longer there?

over the last 2 years, AMAS and KONSTANTIN KOST have been trying to produce a techno EP across the borders of the war in ukraine. KONSTANTIN KOST was never able to leave ukraine for this, while we were able to move freely through europe.

this ambivalence is part of this album, it is part of every note and every line of the poems that can be heard here. we all associate techno with bass-heavy and dancing through the night, but ODESSA is more, it is a journey without being able to travel, an experience without being able to experience, an escape without being able to escape and a life without really being able to live ...

neither AMAS was able to travel to odessa during this time, nor KONSTANTIN KOST to europe, neither was able to experience the other personally. however, the exchange of music and lyrics has built up a relationship to a country at war, as well as to its people, musicians, women and children.

while we were dealing with our everyday problems in germany, the situation in ODESSA became increasingly confusing. the constant fear of being drafted and producing videos and images for the album at the same time were extremely ambivalent moments.

how do you deal with your counterpart in such moments and what do you say to someone in a situation that we can hardly imagine? we often talked about friends simply disappearing and corrupt officials and soldiers embezzling money and in the next sentence it was straight back to the vinyl production. these conversations were very rational and at the same time extremely surreal.

this EP is not meant to be a political EP, it is meant to be a human album and to take away the feeling of powerlessness from the people who were and are involved. this production and its music is a triumph over the destructive and dark side of war, it is meant to show that art is boundless and that people are connected all over the world even in the darkest times.

in the first track RED GLOW our guest TANYA (musician and djane from Odessa) stoically repeats the words LOVE and FEAR, followed by the words: “i meet you with red glow, in your eyes i quickly dissolve!” the track is part of everyday life, everywhere you meet this red glow and yet everything has to flow on and yet people still live and dance ...

in NIGHTCALL we walk through the streets and follow the call of darkness. the words “through the night” are used here repetitively like a percussion. but the highs and lows also give us hope and the belief that we will wake up again tomorrow and start a new day. in the dark there is always light, which must be preserved and found.
OLD KINGS is also the title of the poem we have written, based on the poem OZYMANDIAS by percy bysshe shelley. OLD KINGS determine our times and our political systems, seemingly unteachable old men hold the world in a stranglehold and it seems as if there are an infinite number of them. yet we continue to fight against these people, we cannot and do not want to do otherwise ...

in TALK TO GOD, KONSTANTIN KOST reads from the well-known ukrainian poem “a cloud floating behind the sun” by TARAS SHEVCHENKO, a famous ukrainian poet and writer. he is considered the founder of modern ukrainian literature and, in part, of the ukrainian language. it is about red fields, the fog and its darkness, as well as the sea and the calmness of the heart in nature, the longing for peace and peace with god.

in addition to poetry and music, all photographs and videos are original recordings by KONSTANTIN KOST of his city ODESSA. although we cannot visit each other, we still share strong visual impressions of a city that, in all its beauty and resilience, will hopefully soon be open to the world again. the cover is therefore also a picture of the port of odessa, a place where people and goods from all parts oft he world will soon be able to sail in and out again.

Deep dive into Tom Roland's latest vinyl release ‘Exposure’. Crafted with precision, this collection of tracks is the fusion of driving beats, infectious rhythms, and fresh production.


A Side:
Exposure - Let the grooves take you on a journey through rolling bassline, crisp hi-hats, and hypnotic synth loops. This opener sets the tone with its lush synths and crafted drops.


Free Ride - This track delivers a raw, unfiltered groove straight from the heart of the 90’s scene. With its chunky beats and hypnotic loops, it’s designed to keep the dancefloor moving.


B Side:
K2000 - Dive deeper with this moody track that brings an edgy vibe to the release. With driving beats, subtle melodies and a touch of acid influence.


Zero Control - Closing out the vinyl with this groove-laden cut, featuring rolling bass, melodic elements and dynamic percussion. It's the kind of track that builds and builds, creating an irresistible urge to dance.


Each track is offering a rich palette that reflects the depth and diversity of the genre. This vinyl is a tribute to the timeless sound that continues to inspire.


Only 200 copies.

Amsterdam's Locked-In imprint continues its hot streak with LKDNV07, a four-track EP by Offenbach's Tom Ries titled "Comeback Kid." This release showcases Ries' talent for crafting immersive, emotionally charged house narratives.

The title track sets a warm, rolling groove with organic percussion and lush synths, creating a hypnotic late-night vibe. "Deepfried Diversion" blends soulful keys with driving rhythms for a true dancefloor odyssey.

On the B-side, "One Eighty" combines classic house sensibilities with modern flair, featuring an undulating bassline and ethereal melodies. The EP concludes with "Rieses Pieces," a transcendent exploration of pure groove with interlocking rhythms and euphoric breakdowns.

Mighty fine compilation feat. DMX Krew, Tom Carruthers, Network 1 etc of early sounding UK techno and Detroit.

As Quinoa serves up its third Cut, the Nutritionist's Guide To The Galaxy's plot thickens with its second installment. A split EP chock full of the complex carbohydrates and life-giving minerals our bodies need for interstellar travel.



The Carbs are supplied by Brique, who composes a blend of digestible beats that pulsate with steady energy. "The Future" launches us into orbit with its playful synths and driving basses, while "Customer Service Meltdown" takes us on a rollercoaster ride through glitchy melodies, infectious rhythms and a liberating storyline most of us can relate to.



On the flip side, Babu dishes out the Minerals with tracks that are equally replenishing for the souls of tomorrow's space-travellers. "Apollo" elevates us to celestial heights with its euphoric melodies and cosmic atmospheres, while "American War" plunges us into the depths of introspection with its haunting vocals and brooding basslines.



This EP not only tantalizes the taste buds of dancers and cosmonauts alike, it also provides another nourishing piece of the puzzle that makes up a well-balanced musical diet.

The Nutritionist's Guide To The Galaxy Vol. II is the perfect supplement for your next cosmic voyage.

Airtime Records returns with the latest installment of its vinyl-only series, featuring the incredibly talented artist Tommy Chikara and a remix by Just Jam.

The A-side kicks off with "Input", where Tommy Chikara wastes no time unleashing a barrage of garage beats and hypnotic stabs. Layering up rock-solid kicks and steel-sharpened hi-hats, he creates an energetic rave-up that will leave you breathless. Next up, "Output" takes the intensity to another level with its electrifying exploration of sound, captivating listeners with its irresistible groove and infectious bassline.

Flipping over to the B-side, Chikara presents "Make The Thing", a testament to his unparalleled creativity and innovation. With its dreamy melodies and energetic rhythm, this track is to set the tone in the late night scenes. To top of the release, Just Jam delivers a stunning remix of "Input", adding depth and complexity to the original track while retaining its essence.

These tracks have already left an indelible mark on dancefloors around the world, with support from artists like Chris Stussy and Enzo Siragusa.

Limited run, Vinyl Only.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

2026 Repress

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Next up and with a label debut is one of the leading Female artists on the circuit, Tini Gessler! Tini dropped some straight-up club fire on our sister label Toolroom Trax earlier in the year alongside Juliet Sikora and digs deep into her clubby roots once again with 'Do What You Want'. After releases on the mighty Drumcode, Sola and Kittball in recent years, her 10 year career is going from strength to strength which is seeing her DJ all over the Globe on a weekly basis and her music production is making huge waves within the industry, and rightly so. Next up Italian born DJ and producer, CASSIMM is back on Toolroom with a straight up club weapon! After laying down the delicious disco number last year called 'Get On The Funk' with Kid Enigma, this follows suit perfectly and fuses chunky beats, disco licks and has Bruno Blanc sharing some sentimental lyrics about how important house music is to all of us. Last but not least, French artist Tony Romera is back on Toolroom with another slice of Tech House fire. Tony Romera first stepped onto the scene 10 years ago as a fresh-faced 20 year old looking to make waves and disrupt the electronic music world with his unique style and French-house inspired beats. Since then he's been busy releasing music and experimenting with different sounds and styles, putting out music on a range of powerhouse labels and gaining support from the likes of Diplo, Fisher, Chris Lake, Fatboy Slim, Deadmau5, Vintage Culture, Adam Beyer and more. House Y'all's distinct character is built upon a warped, creeping bassline and tough, relentless beats providing an irresistible pulsing backdrop as the familiar chanted vocal emerges. A sonic trip that transports you deep into the heart of the underground.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

2024 Repress
Tooflie keeps up deep-vein research instinct to remake and remodel the hidden gems of the worldwide archive quirks to tomorrow's dancefloor. Label's best-kept secret anonymous producers return with a highly anticipated funk-driven four-tracker voyage to pan-Asian crates, from Bollywood to China with a journey to Uzbekistan and Southeast Asia. They're here to take you on a gleeful joyride around their collective musical imagination: the A side sweeps in with a hypnotic feel via psychedelic swells, tension-building textures, and a bumpy, hardy rhythm, while the next cut is softening sharp edges of Bollywood original and adding sophisticated melodic expression into dancefloor territory. Do the flip to find two more bright refixes' of Chinese and Uzbekistan tunes. The bubbling 303-driven rhythms of the 'B1' are packed with sleazed-up keys, thumping bass injections, and resonant chants. The latest cut goes full-on ecstatic disco mode and finishes the release with a clean, floor-filling edit of a rare uplifting slice of Uzbekistan's celestial magic. Vinyl-only and in a very limited quantities as usual!

BopdyParts Vinyl long-awaited twenty-ninth release welcomes veteran Tommy Vicari jnr to the imprint with "No You Neednt Explain EP", a groovy four-track solo release spanning from warm, deep minimal to shuffle house dancefloor stompers. Tommy Vicari jnr has made all sorts of dance music over the past two decades, usually proof-ready for the most refined dance floors worldwide.

The EP's first and title track, 'No You Needn't Explain' (A1), fully displays Vicari's signature: syncopated beats, shuffled squicky basslines and exquisitely looped samples for maximum dancefloor hypnotism. 'Issacgroove' (A2) continues the story with its slapping drums on top of deep pads and percussive samples, creating a particularly jazzy atmosphere full of quirky filtered samples for added funk. On the flip side and in pure Vicari fashion, 'Anytime' (B1) doubles down on pitched-up vocals and sampled guitars & keys, reminiscent of the early 00's French House era. 'Chapter and Verse' (B2) closes the EP with a slightly eerie tone and a total focus on the atmosphere and its apparently non-stop groove. Dancefloor-ready and captivating, "No You Needn't Explain EP" is no different than all other Vicari releases around - a must.

Perhaps a drum is a space wrapped in material.

With some excitement the space and the material interact to produce vibrations, which we hear. Separately, yPLO prepared some sounds in advance of a performance based on the components of a speculative drum kit

ob TRU was performed and recorded live on 6/8/18 at Cafe OTO. During this live performance yPLO used amplified mylar, floor tom bass drum, mixers, audio recordings and microphones.

The recordings were mixed and edited into 8 discrete tracks.

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yPLO (Paul Abbott & Michael Speers) is a project about imaginary drums and rhythms, using acoustic percussion and synthetic sounds.

Michael Speers is a musician from Northern Ireland who works with various sound materials — using drums, computer, microphones, feedback — in performance, installation and composition. Other collaborators include John Wall, Louise Le Du, Olan Monk, Niklas Adam, Lee Fraser and Seijiro Murayama.

Paul Abbott is a writer, sound and performance artist. He has played at venues and festivals internationally and was a resident at Cafe OTO. He completed a PhD at the University of Edinburgh under the supervision of Florian Hecker and Nikki Moran, and is currently undertaking research at Royal Conservatoire in Antwerp. He is also the co-founder and editor of Cesura//Acceso, a journal for music, politics and poetics.

Bread & Souls is an ensemble of musicians, singers, DJs, producers and most of all, friends: a global family brought together by Franco Fusari under the musical direction of producer/electronic jazz pioneer Mark de Clive-Lowe.

Chapter 1 features vocal and instrumental tracks kicking off with an incredible exclusive: for the first time together on the same track West London Queens Bémbé Segue and Vanessa Freeman deliver a broken beat future classic. Paul Randolph features on a superb boogie tune, while Domu delivers an amazing remix of “Little Did I Know” - after almost a decade’s absence, he’s as brilliant as ever. And all supported by a great band: MdCL (keys), Tommaso Cappellato (drums), Marcus Machado and Landy Shores (guitars), Max Luthert (bass), Taku Hirano (percussion).

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 2LP contains Diamonds And Pearls remastered for the very first time by Prince’s original mastering engineer Bernie Grundman.

Diamonds And Pearls is the thirteenth studio album by Prince, and was the first with his new backing band, The New Power Generation. Featuring six massive international singles, including the hits “Gett Off”, “Cream”, and the iconic title track, the album was a worldwide smash reaching multi-platinum status in the USA and the UK, where it remains his best-selling album.
The New Power Generation was a band that Prince believed in so wholeheartedly that he gave them co-credit on the cover of Diamonds And Pearls, something he’d only done previously with one other band, The Revolution. The group consisted of Sonny Thompson (vocals & bass), Damon Dickson (vocals & percussion), Rosie Gaines (vocals & keyboards), Michael Bland (drums), Kirk Johnson (vocals & percussion), Tony M (vocals), Levi Seacer, Jr. (bass, guitar & vocals), and Tommy Barbarella (keyboards).

After a long hiatus Klaus Benedek comes back on his own mothership Fortunea Records with a brand-new production. ‚Tombstone’ heralds the autumn. You can feel the melancholy that brings the end of the warm and bright days with it. Although the subject matter is dark and eerie, the track wanders with its epic instrumentation through pensive optimism. The remarkable chopped hookline and the concise and soft bassline are casted in a flowing deep sounded carpet full of hope. An epic excursion that you definitely should give a try.

A considerable move into a different sound sphere goes Berlin-based artist and Tieffrequent-founder Siggatunez. He has had an outstanding array of vital productions this year and with his remix he lets you „feel the unknown“. In a very detailed way he made a serious dancefloor intended track, in the signature style of his current output, where beats and groove take the lead, but keeping the soul of the
original with the use of its pads, strings and bass.

Tombstone will come out on limited 200 copy vinyl and in its digital form onstreaming services and download stores on the 27th of october. There will be no repress!ö

As we get ready to say goodbye to the Telomere Plastic series, we are excited to present Telomere 020.1, aka the first part out of 5.
Each release will have four different artists, making it a compilation of twenty different artists who will deliver unique, juicy and eclectic frequencies that will keep your telomeres bopping for the rest of time!

This first VA, features producers, ESB, Synaptic Voyager, Vinaya and Vonsuck.

A1, Fancy Organ from Vinaya, is a sexy deep and house cut that is guaranteed to bring smiles all around the dance floor. Arpeggios and groovy bass lines galore. Prepare your piano hands because you will find yourself playing that sweet air organ on this one!

A2, Self Destruct Sequence from Synaptic Voyager (aka Telomere 014’s Illuminators), is a very emotional cut. Originally released digitally on Frame Of Mind, we were overjoyed to be given the green light to put this beauty on wax. Deep pads, tommy drums, hints of IDM and techno, and soul striking arpeggios pave the way for a special sonic journey. Close your eyes and melt away with this one!

B1, Keio Acid from ESB. We are always delighted to share more ESB with you. Elan’s love for analog and tape give off a raw and authentic energy that is hard to come by. This deep, jazzy and loopy cut will keep you on your toes from start to finish. We can only dream of being on the dance floor as this one plays out!

B2, Unemati from Vonsuck, is a deep and dubby cut that beautifully blends the three genres dub techno, house and techno. Dark rooms and dark skies are recommend for this one here, even though we could see these frequencies accompanied by a pink and red sunrise bringing waves of energy and nostalgia to your soul. Its a real treat to have Vonsuck aka Galaktlan on the Telomere series!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

The latest offering from Astral Black comes in the form of the 'Metropolis N' LP, courtesy of Queens, New York's number premier importer/exporter of Jungle & D&B, NIGELTHREETIMES. Having initially garnered a name for themselves as one of New York City's most versatile club DJ's, with the release of their 'Call Of The Void; project in 2020 Nigel also began to build a reputation as a producer in their own right. Resulting in residencies on Rinse FM & The Lot Radio, radio support from the likes of Tom Ravenscroft & Uniiqu3 and press support from Resident Advisor, OkayPLAYER & Mixmag – amplifying their talents throughout New York City and beyond.

With 'Metropolis N' NIGELTHREETIMES distills their eclectic influences through the lens of rolling 160bpm breaks – taking in Jazz, 8-bit game soundtrakcs, science fiction & jump up D&B. Starting off the LP with the rhodes tinged double header of 'TSQ MELTDOWN' & 'EARLY MORNING FROM 103RD STREET', the latter featuring some of the best double bass work heard on a jungle track since 'Brown Paper Bag'. Elsewhere, on 'ROAD2RAILS' and 'PHANTOM SHORES', the producer ditches the instrumentation in favour of oscillated square waves, dubbed out vocal FX & 8-bit melodies, without ever losing site of the projects underlying sense of optimism. On the album closer 'INTERNATIONAL SPACE STATION', 3X manages to bring together the influences heard throughout the project, tying together a muted rhodes chords, squarewave basslines, flutters of alien melodies and finely tuned, slices breakbeats into a 5 minute symphony.

The consistency and exacting production skills heard throughout the offering elevate this project from another drop in the digital ocean to a landmark opus, from a producer carrying the torch for this timeless sound and making the project worthy of a spot alongside some of the classics this genre has produced.

'Metropolis N' is available Oct 13th on digital and limited edition vinyl via Astral Black.

'The John Carter and Bobby Bradford Quartet/Quintet were critical to the progressive jazz movement around Los Angeles in the late 60s alongside the likes of Horace Tapscott. Both hailed from the Watts area and trumpeter, Bradford played with a woodshedding Ornette Coleman for two years in the early 60s when the legendary free movement leader decided not to record for a while but wanted to hone his trademark sound on the saxophone. Multi-reed player, Carter also worked with Coleman who brought them together to lead their own band.

Their first outing on Flying Dutchman was “Flight For Four” as the Carter Bradford Quartet that was released in 1969. This is the second album they recorded where Carter and Bradford were supported by Tom Williamson (bass), Buzz Freeman (drums) and another uncredited bass player on four extended improvisations – ‘The Sunday Afternoon Jazz Blues Society’, ‘The Eye Of The Storm’, ‘Loneliness’ and ‘Encounter’.'

The first solo excursion on Half Grand Records comes from label boss, Jon Doppler. Clocking in at 37 minutes, this collection plays more like a mini album than a 12”.

The Artifact is full of the cavernous electro vibes that Doppler hinted at on the previously released compilations from the label. And if this record is an Artifact, it belongs at the bottom of the Mariana Trench with its alien percussion and deep, fluid bass.

It’s hard to pick a favorite as any one of these tracks would add atmosphere and color to a set. “Sapphire” sounds like it would perfectly underscore the discovery of an ancient Atlantean civilization. While Tar Like Gold’s driving, arpeggiated basslines and vocal samples “tomorrow holds the key” look to the future.

Take a listen and see for yourself, there’s a lot to love on this one.

For fans of Morphology, CPU records, Versalife

What comprises a dream?

An astral plane of our own making where thoughts, love, and desires of the inner mind abound with irreverence - ripe with connection & perspective beyond constraints of time, set, and setting.

Azu Tiwaline exists within the wonders of these interstitial worlds, diving deeper towards inner sanctums of mystic imagination, sublime intrigue, & profound understanding on her second full length LP “The Fifth Dream”.

Released again through her beloved partnership with I.O.T Records, “The Fifth Dream” finds Azu painting an expansive vision towards unified multitudes, mercurial realities, & abundant inner sanctums.

Where her first album “Draw Me a Silence” was a loving ode to her family & upbringing in the form of an elegant diptych, “The Fifth Dream" is the enactment of actualizing her roots into new routes, taking her multifaceted identity into new means of communication towards herself, the world, & the cosmic unknowns that surround her.

Throughout The Fifth Dream’s 54-minute runtime, we hear all elements of the uniquely transcendental sound that Azu is beloved for worldwide. “Antennae Opening”, “Blowing Flow”, & “Amen Dub” embody her talents for tectonic, dubwise soundscapes that channel the innately maternal elements of bassweight into bold & abstracted pulsations, indebted to the most psychedelic & body activating ends of dubstep.

Still attuned to the spatial awareness of dub sonics but giving way to the hypnotic syncopation & synaptic frequencies of techno, “Reptilian Waves”, “Long Hypnosis”, & “Mei Long” bring forth her spectacular expertise for entheogenic rave rhythms - guiding us warmly towards trance-inducing hyper states of dance & delight. Fluctuating between an adventurous velocity and enveloping stasis, the expansive abyssal planes of “Golden Dawn”, “Night in Palm Tree”, & “Canope Imaginaire” conjures a wondrously invigorating rhythmic enlightenment & celestial comprehension - simultaneously moving us forward, inwards, & outwards through Azu’s uniquely omnidirectional & kaleidoscopic musical visions.

Adorned with sampled field recordings of her deeply inspiring home in the desert of El Djerid in South Tunisia, Azu opens a portal into the synergistic inner sanctums of being, self, and the world around us that’s essential to her work as an artist - from the macro levels of humanity’s naturally intimate connection to the Earth we share, down to each of our own micro levels of culture, ancestry, and belonging. All of this is alchemized through a combination of timeless Saharan knowledge & modern cybernetic tools, creating new dimensions of bewitching, euphonious sonic energy. This is music that gives back as much as the listener wants to give themselves unto it - detailed and layered, orbiting a steady core as ethereal swirls and intonations of the natural world embrace us warmly within a spellbinding journey.

8 of the album’s 9 tracks feature a deep level of collaboration from innovative Franco-Iranian percussionist Cinna Peyghamy. Cinna’s use of Tombak, the principle drum of Iranian music throughout time, is beautifully sonorous - channeling the passion of centuries of Southwest Asian rhythm & expression into his own personalized flourishes, with Azu adding her own electrifying frequencies & undiluted artistic freedom to their shared interplay. This profoundly communicative diasporic essence is transmuted between Azu & Cinna, their expression, & the listener. Both are music lovers, intimately connected to their respected Iranian and Tunisian cultures - concurrently acknowledging the wisdom of their resonant pasts, while proudly bringing the sounds of their heritage into the present & future.

“The Fifth Dream” embodies a cosmic anodyne for those feeling caught in between life’s abyssal inbetweens, whilst aiming for a consonant awareness of where our home truly lies in the swells of life’s spiritual maelstrom. This dream belongs at once to none & to many, that of a common language unified in concentric depth - finding beauty in all aspects of our world, and ultimately, within oneself.

Originally released on Island Records in September 1998, the soundtrack to the box-office smash film, written and directed by Guy Ritchie, quickly became a must-own album, and is frequently cited as one of the best movie soundtracks of all time.

Lock, Stock and Two Smoking Barrels redefined the British gangster film and established Guy Ritchie as one of the greatest directing and writing talents of his generation. Using a frenetic mixture of filmic styles, humour, violence, breakdown of the fourth wall, narration, and vast amounts of swearing, it is hard to imagine a time when this film and its influence was not around. It made a star of the-then unknown Jason Statham, and, amazingly, hard man footballer Vinnie Jones, who as Big Chris, had several scene-stealing moments. Taking his cue from Quentin Tarantino, who had been meticulously curating his film soundtracks since the early 90s, Ritchie made the music to his film tell its own story, complete with memorable snatches of dialogue between many of the tracks.

It offers a beautifully eclectic selection of songs from the preceding three decades, plus then-current artists providing some of their best material, such as Hundred Mile High City by Ocean Colour Scene or E-Z Rollers' drum'n'bass masterpiece Walk This Land. Of the heritage tracks, Dusty Springfield sings her sultry take on Spooky; James Brown appears twice with The Boss and The Payback; The Stooges with I Wanna Be Your Dog, and two versions of Pete Wingfield's masterful one-hit-wonder 18 With A Bullet; in its 1975 original and a contemporary cover by Lewis Taylor and Carleen Anderson. And this is only half of it.