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Brazilian producer and DJ Pedro Bertho, now based in France and an active member of Lyon's electronic music scene, releases his first EP on Cracki Records.

With "Mêlé", he attempts to translate what it feels like to be a black, Brazilian man living in France in the 21st century.

A complex patchwork of experiences, accents and heritages that he translates on this powerful record, mixing baile funk, house, electro or acid house, sprinkled with TR-808 and iPhone recordings.

The mix extends to the remixes, with Brazilian underground queen Badsista signing a hard-hitting version of "Jour 4", while Chilean Alejandro Paz tackles the bouncy "3333".

Celebrated new wave compilation from Japan reissued for the first time on Glossy Mistakes.

A much-cherished gem from the 1980s underground Japanese music scene returns as Soft Selection 84 is reissued by Glossy Mistakes for its 40th anniversary. Originally released on DIY label Soft, the compilation sees 13 tracks from nine acts spanning minimal, ambient, zolo and more for a beguiling listen.

The result is a charming time capsule of eclectic creativity in which nothing sounds dated. Take La Sellrose Can Can, whose two party jams predate Kero Kero Bonito's hyperpop by decades. In addition, an impeccable remastering from the original master tapes adds to the "could have been recorded yesterday" feel of the collection.

Soft Selection 84 also includes the eccentric Picky Picnic. One of the few featured artists with recordings beyond the anthology, the trio is an essential act for those curious about Japanese art pop of the era. There is also new wave introspection from Name, whose "Do We All Need Love" plays out as a sensual nod to John Lennon. In a similar vein is Clä-Sick, the recording name of Goro Some, the compilation's original producer and founder of Soft.

The record's rerelease comes with Some's blessing, along with his original artwork and photography. Ultimately, the listener is left tantalised by his selection and its bold excursions into no wave, synth pop, radioplay and bizzaro house. Most of the artists on this release would fade into obscurity, but the transient nature of the potential showcased has helped cement the compilation's reputation over the years.

Soft Selection will be released on vinyl LP by Glossy Mistakes on March 2024, with a remastering from the original master tapes.

Repress!

London based DJ and producer Dan Shake is set to announce details of his new EP ‘Mosquito’, due for release on 13th March 2020 via his Shake Records imprint.

Dan’s latest outing offers three driving, thoughtful Detroit house influenced club tracks: from the synth-heavy adrenaline rush of title track Mosquito, to the jacking, motoric resolve of The Deep
End, and Hide Seek’s kinetic, sample-driven house groove.

Since debuting on Moodymann’s Mahogani Music in 2014 with 3AM Jazz Club / Thinkin About U, Dan made it into a springboard for his ambitions to work crowds the world over. His love of groove – ranging from sparky acid to Brazilian samba, itchy funk to heavyweight house – fuels his drive to make those around him dance as keenly as he does. At a party, Dan Shake isn’t just loaded with peak time weapons: he is one.

This will be the seventh release on Dan’s Shake imprint, following a string of dance floor-igniting releases, the most recent of which continues to scorch the airwaves from Radio 1 to NTS, garnering DJ support from the likes of Annie Mac, Gilles Peterson, Honey Dijon and The Black Madonna, and a searing set of disco-house releases last year on his own Shake imprint and Denis Sulta’s Sulta Selects.

Dan’s infectious charm and expert ear has resulted in a truly international list of shows in locations as far flung from home as Beirut to Buenos Aires, plus armfuls of Balearic visits, including closing the main stage at Dimensions Festival and playing b2b shows with Jeremy Underground, Marcellus Pittman & DJ Boring to name a few. With a never-ending tour schedule ahead, including his debut U.S. and Australia tour, stops at Nuits Sonores, Love International, Printworks, Kingdom Festival, Fly, Boardmasters, Dimensions, Pikes Ibiza and more new music planned for 2020, Dan Shake is set to have an exceptional year.

DJ Yirvin is one of the most prolific and important music producers that have emerged out of the Venezuelan underground since the early 2000s. Alongside DJ Baba, DJ Deep, DJ EL Mago, DJ Yoiser and others, he is one of the true originators of Venezuelan dance music continuum known as Changa, with subgenres such as Street House and Raptor House, though his sound later evolved into a unique style of his own known as Hard Fusion.

6-track EP compilation with Terada's work for the Ape Escape games, tip!

Outside of the international house underground, where his early ‘90s works for the Far East Recording label he co-founded with Shinichiro Yokota are rightly celebrated as bona-fide classics, Soichi Terada is best-known for his work composing music for video games. Yet until now, few of his productions for video games have been released outside of Japan, especially on vinyl.

Apes In The Net, a six-track EP featuring music composed for the popular PlayStation 1 series Ape Escape, sets the record straight. It not only showcases Terada’s quality as a composer and producer, but also his versatility. Like much of Terada’s work on the Ape Escape series, the tracks featured don’t explore deep, New York and New Jersey influenced house sounds, but rather his lesser-celebrated love of jungle and drum & bass – a sound he fully explored on 1996 album Sumo Jungle.

“The producer of the Ape Escape games heard that and got in touch,” Soichi remembers. “They asked me to make the soundtrack, and then work on the music for the sequels after that. I used to love making music with AKAI hardware samplers, synthesisers, and computers, so I played and recorded the tracks using almost the same methods as I did when I made house music. Using breakbeats and audio samples with a sampler was the most useful way to make the soundtracks.”

The six tracks on show, which were originally recorded in the ‘90s but reconstructed and remastered for Japan-only CD and digital releases over a decade ago, mix elements of Terada’s familiar deep house style – think warming chords and pads, memorable melodies, and emotive musical motifs – with blistering D&B breakbeats, 16-bit synth sounds, electronic bleeps and undeniably weighty basslines. They’ve stood the test of time and arguably sound just as fresh now as they did at the turn of the millennium.

For proof, check the soaring, spellbinding ‘Spectors Castle’, where uplifting lead lines and sumptuous chords dance atop punchy beats and growling bass, the jazzy and saucer-eyed rush of ‘Mount Amazing’ (all twinkling piano motifs, alien synth sounds, squelchy bass and skittish drums) and the intergalactic, liquid D&B excellence of ‘Time Station’, whose whistling melodies and stargazing chords are undeniably alluring.

There are plenty of other delights to be found across the EP, too, from the bustling, race-to-the-finish breathlessness of D&B/bleep techno fusion workout ‘Spectors Factory In’, and the rumbling sub-bass, creepy pads and suspenseful melodies of ‘Haunted House’, to the bombastic, all-out-assault on the senses that is ‘Coaster’, the set’s most “purist” jungle workout – albeit one that also doffs a cap to the pulsating world of big room techno.

Apes In The Net, then, celebrates Soichi Terada’s mastery as a video games composer and early Japanese junglist. Props are well and truly overdue.

Contra008. Contrafact are proud to present the new EP 'Chicago Knights' from veteren producer Andrew Haines. Andrew Haines aka Merix is primarily an outlet for deeper House and Techno sounds with an experimental twist. A love for cutting edge 80s and 90s moody, soulful and raw electronic club music sounds produced from the hardware of those years lies at the heart of these productions.

However a forward thinking and modern experimentation with these boundaries is also intended to be loosely employed with these production parameters.

All audio production by Merix runs alongside the Ae2 Multimedia project. Ae2 Multimedia was created by Andrew Haines in 2010 as a fusion of various artistic endeavours. Andrew Haines has been creating works of fine art, DJing and producing electronic music since the mid 1990's. Over the past 20 years Andrew Haines has also been engaged in creating works of analogue film photography, researching folklore, practising spirituality, exploring herbalism and world travel.

As an artist Merix is currently based between Galway in western Ireland, the hills of northern Cymru and Long Island, New York State in USA.

2LP Repress!

Despite being one of the best kept secrets in house music, K4B Records is one of the most influential labels of the 90’s. Now the impressive discography is available digitally for the first time, with each record written and produced by Kingsley O. An Englishman of West-African heritage, Kingsley had moved to the states to pursue his musical aspirations of working with the finest soul vocalists, and his productions went on to inspire dancefloors both sides of the pond. Kingsley wrote some of the most loved songs of the 90’s underground, and by bringing emotive vocals to the dancefloor he defined the K4B sound. The sharp and rugged drums, rolling bass and melodic keys paired with the dynamite punchy vocals of amazing vocalists, such as Maydie Myles and Dawn Tallman, found success on the US Garage scene as well as being hugely influential as UKG began to explode, cementing K4B’s musical legacy in the house music hall of fame.

This special 2 x 12” vinyl package offers a consolidated dose of some of the standout records released by K4B from two of their most prominent artists, Maydie Myles and K London Posse. Whether this is a revisit to K4B’s catalogue or an introduction to new listeners, this first edition of a series of vinyl releases is the perfect way to dip your toes into the illustrious back-catalogue of this legendary label.

The fast-rising Purveyor Underground Ltd kicks on again here with a sizzling seventh EP that is as rude as they come - in both meanings of the word - from Die Familia. It is his own East Side Gangster remix of 'U Dat Bitch' that kicks off with hard-hitting house kicks and sleazy vocals over a rugged bassline. 'House Music' (part 1 - Late Night edit) is just as raw but more deep and hypnotic with its ascending synth lines and steamy vocal coos. 'Organic (Like Weird)' might be the best of the lot - a quick and urgent house thumper with silky hi-hats and rolling bass getting you up on your toes amidst swirling pads and a melange of vocals.

DJ and producer Gratts returns to his own imprint with the third instalment of the "Balearic but bumpin'" trilogy. Here, the Belgian puts forward a captivating piece of organic, Body & Soul NY inspired deep house, assisted by Cata Mansikka-aho on vocals. As always, an instrumental is provided for maximum nightclub daydreaming. On the flipside, British duo Faze Action up the energy levels with an equally musical disco version that hits in all the right spots. Artwork once again by Mads Cooke.

Glenn Underground:
"Bad Ass'd Project, The whole thing"

Laurent Garnier:
"Really cool tracks :) Looking forward to hearing more stuff in the future."

Colleen Cosmo Murphy:
"Great release! I like the original best! I will be supporting on the show once I’m back in February."

Groove Armada:
"Sounds great and Faze remix is great too!"

Severino (Horse Meat Disco):
"Great stuff and amazing remix!"

Kevin Reynolds (Transmat):
"I remember this voice! Both tracks are incredible, has this classic Dinosaur L vibe that is super dope!"

Gareth Sommerville (Athens Of The North):
"Love Gratts’ productions - this is no exception. Spiritual for optimists."

Shane Johnson (Fish Go Deep):
"Really enjoying the original mixes here... such a relaxed, musical groove that perfectly suits that lovely, drifting vocal. Looking forward to playing."

Mano De Fuego land on Yaxteq with the mighty Fuerza EP. In 2022, los hermanos Cedillo also known as Soul of Hex launched their Mano De Fueogo alias from Underground Resistance headquarters in Detroit. Their debut for Yaxteq showcases their versatillity as producers. Sagrada is pure musical magic for the dancefloor with rising chord swells, relentless bass and strings that reach into the cosmos. Aztec Obelisk gives a latin flavor to the classic Detroit electro-bass blueprint. Fuerza dives deep into hi-tech jazz including an interstellar saxophone improvisation courtesy of Tijuana’s own Manuel Paez Armendariz. DJ Dex then takes the soul of Fuerza and remixes it with the concrete foundation of jaaackin US house music. All tracks were mixed and arranged at the Yaxteq studio in Los Angeles. Saludos!!

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

Tony Boninsegna: Notes From The Underground 1986-1994 (Volumes 1 and 2) Cold Blow / Musique Pour La Danse

The story of dance music is littered with hidden heroes and underground activists whose immense contributions have been overlooked, ignored and under-documented. Tony Boninsegna, a producer who made and released countless classic cuts and forgotten gems during the acid house and rave era, is one such example.

Melding elements of all that was popular in underground clubs at the time to create his own dancefloor-friendly sound worlds, Boninsegna amassed a huge catalogue between 1986 and '94, while hiding his involvement via an array of oddball aliases and opaque pseudonyms. Boninsegna's story first came to light four years ago when he appeared in Join The Future: Bleep Techno and the Birth of British Bass Music, Matt Anniss's critically acclaimed alternative history of UK dance music in the rave era. Now Cold Blow has joined forces with Musique Pour La Danse to deliver a much-needed anthology of his greatest productions and
co-productions - many rare or hard-to-find - for the first time.
Featuring 24 restored and remastered tracks stretched across two volumes on vinyl and digital, including a handful of previously unreleased tracks and mixes, and accompanied by detailed sleeve notes by Anniss, Notes From The Underground 1986-1994 is a joyful celebration of one of British dance music's most under-appreciated artists. The full breadth and depth of Boninsegna's rave-ready catalogue, as well as an indication of
the sheer volume of aliases he utilised during the period, is explored in detail across the two-part compilation.

Fittingly, volume one features two previously unreleased recordings that mark his earliest explorations of the emerging house sound (both as The Rhythm Squad, with Richard Compton), alongside touchstone releases such as Zeco's 'The Witch Trials' (a 1989 production that marked his first outing on vinyl), celebrated workouts recorded with regular collaborator Mykey Tee (Lab Technicians' bleep-inspired 'We Gave U Life', Big Showdown's epic 'They're Here' and AEK's mind-mangling, bleep & breaks number 'Lick It'), and genuinely overlooked gems (the proto-tribal house of Pierrepoint's acid-smothered 'Tonnerre' and saucer-eyed rush of Estudiantes' 'Let The Music Into Your Mind').

It all adds up to the definitive musical retrospective of a genuine underground, rave-era hero whose time in the spotlight may finally have arrived.

Skylax Welcome Back Nicolas Aftalion With Another Powerful Ep "Spirit of House Ii" After His Sensational Debut on the Label, Acclaimed by the Queen of the Genre Cinthie. Deeply Inspired by the New Jersey House Sound Popularized by Tony Humphries, and the Vibrant Energy of the New York Scene. This Release Embodies the Essence of Original House Music, Delivering an Exhilarating and Impactful Experience. Following the Success of "Spirit of House I", This Sequel Is a Natural Progression in Aftalion's Musical Journey. Prepare to Be Transported by the Enchanting Tracks Within. "Cruise in Paradise" Blends Jazz and Spanish Influences, Reminiscent of the Iconic Moments on the Album "Forever Changes" by the American Band Love (As Crazy as It Sounds), Fusing Original House With Free Jazz in an Improbable Yet Captivating Manner. "A Message to Mad Mike" Pays Homage to the Visionary Dj and Producer of Underground Resistance, Expressing Profound Admiration and Love. This Is a Monumental Record That Encompasses Everything Contemporary Electronic Music Has Forgotten. "Paris Is Burning" Serves as an Ode to the Voguing Culture of the '90s, a Celebration of Queer Expression and Vitality. "Soulful in Paris" Takes Us Back to the Soulful and Rhythmic Sounds of Strictly Rhythm and the Timeless Energy of Ultra Naté. as a Digital Bonus, Indulge in the Excellence of "Baby Driver" and "Blaster." "Spirit of House Ii" Is a Masterpiece That Captures the Essence of House Music's Roots While Embracing Innovation and Artistry. Prepare Yourself for an Extraordinary Musical Journey That Showcases Nicolas Aftalion's Profound Understanding of the Genre and His Ability to Create Timeless and Groundbreaking Compositions....

The Spellbound EP serves as a profound exploration into GIDEÖN's artistic soul. Commencing with politically charged tracks, "Study War No More" on side A is an acid-garage hybrid rallying support for emergency aid in Gaza. On side B, the euphoric "Marcus Garvey" urges a reconsideration of the life and teachings of the Jamaican activist. "Spellbound" delves into an ultra-deep meditation on black magic, while "Hora De Bailar" transforms into a Latin sleaze-fest, embodying the label's steadfast commitment to militant queer Deep House.

GIDEÖN describes the EP as a faithful representation of his worldview, stating, "Two of the tracks were written to soundtrack the struggles of our time. Both 'Study War No More' and 'Marcus Garvey' are pieces of music created to motivate, elevate, activate, and educate the dance floors of today in preparation for the struggles immediately before us. I see music as a weapon, a weapon in our dance music community’s arsenal that we can use to lubricate, incentivize change around us."

In addition to the politically charged tracks, the EP features two deeper, sleazier offerings that vividly capture the essence of underground queer dance floors and darkrooms. These tracks resonate with GIDEÖN's experiences at renowned clubs like Bassiani in Tbilisi, K41 in Kyiv, Berghain in Berlin, Basement in New York, and Adonis in London.

GIDEÖN boldly declares, "I set out to do EXACTLY what the global religious right-wing extremists are so opposed to: the PROMOTION of homosexuality." This sentiment underscores the EP's mission to advocate for diversity in the face of opposition.

If the genesis of The Big Idea was written both in the corridors of their high school and the surroundings of La Rochelle, the first chapter truly takes place in a big house in outskirts of Paris, where the six boys settled once they got their baccalaureate in 2015. Throughout these five years, The Big Idea hosted every European band playing in Paris with no landing place. The house of Champigny-sur-Marne, almost invisible in the monstrous metropolis, became a central location of the capital’s underground scene.

That creative cyclone within which the band is placed quickly shows results and the band hit it hard with their debut LP “La Passion du crime 3” (2017). This quadruple album, written as the movie score of a police investigation story, affirms something fundamental: The Big Idea is determined not to do things like everybody else. The influences of the great psychedelic rock’n’roll tribes naturally appear, the band release several record, start touring all around Europe allowing them to develop a furious alchemy on stage. But then covid brought everything to a halt. However, the band returned to La Rochelle and plotted a new, mad project.

The Big Idea becomes the first band to record an album on a sailing boat while crossing the Atlantic. Once again, the idea is fabulous, and “The Fabulous Expedition of Le Grand Vésigue” represents both the thirst of adventure of the sextet from La Rochelle, and their yearning for calm, psychedelic horizons. After the release of the documentary film and the big tour that followed this extraordinary adventure, the band decides to reaffirm the most essential part of its identity and announces for February 2024 the releasing of a new record more electric and radical, in the image of their live performance with more and more intensity. “Tales of Crematie” is a story built on a fantasy medieval backdrop, but could have however taken place in our modern era. If the elegant, psychedelics parts have not disappeared, the record’s tone is clearly more rock than what the band has ever created before, and as The Big Idea always likes to go overboard, the album will be released as a double LP in which you’ll hear trumpets as well as pianos, violins, tropical influences, post-punk, and above all, loads, loads of fuzz. Just like a toy chest whose key would’ve been thrown away on purpose, hidden arrangement treasures abound inside of “Tales of Crematie” , along with a violent revolt against the modern archetypes of “too normal music.”

First volume of the Extreme Years serie (1990-1994) of the prolific artist - all released for the first time on vinyl. The three other titles will be released every 2 months starting March.

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music.

Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.

New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.

All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

“Musica da Discoteca Vol.3” is l’oggetto’s last of three 12” EPs exploring the musical cross-pollination between NY, Chicago, Detroit, and the Italian Riviera. Percussive grooves, ethereal pads, bouncy basslines, sharp stabs, and digital flutes interweave in these 4 new tracks, creating a oneiric trip in the deepest areas of underground house music.

20 years ago Sunburned Hand of the Man released "Headdress" and it
cracked there world open
This is not hyperbole. The album resulted in the band becoming the cover children for a scene / genre-defining story titled "New Weird America" by the Wire and also saw the album given a 9.0 / Best New Music tag from Pitchfork ("...the music flows so readily with complete and utter disdain for trend and fashion that it feels simultaneously primitive and advanced..."). Largely out of print since back then, "Headdress" is back to help put the world back on a better path.

Remastered for this 20th anniversary edition freshly from the original masters and housed within a gatefold bearing archival photos, this is true head music for true heads.

Tune in, shake yr ass and drop out with this ever-providing slab.

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

2023 Repress

New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.

Repress!

With a pioneering catalogue that boasts releases from artists such as Kenny Dope, Frankie Bones & Lennie Dee, Joey Negro and Joey Beltram, Nu Groove records was one of the key labels in establishing the NYC house sound. However, it was the Burrell Brothers who were by far the most prolific artists to release on Nu Groove, with Rhano and Rheji exploring the underground and avant-garde nature of their musical minds on the imprint. With the label now lovingly cared for by London imprint Defected Records, who acquired the catalogue in 2017, a new era of Nu Groove has meant new releases for the first time in almost three decades, the latest coming from the Burrell Brothers’ A.B.T. (A Burrell Thang) alias. ‘ABT2’ sees Rheji takes control of the A-Side, and Rhano the flip, as Rheji delivering the sparkling grooves of ‘24/7’ and glorious piano house on ‘Cut A Rug’ on the A-Side. Rhano goes ‘Back To Tha Underground’ with the headsy minimalism of his first cut, before closing out the package with a slice of soulful, evocative club heat on ‘2 Black, 2 Strong’ featuring Hakim Green.

Felipe Gordon is a Colombian producer based in Bogota. He’s one of the most famous faces of latin american underground house music. He built a track record of pure house productions from the mid-2010s up until now, being Laurent Garnier-supported and releasing records with the most notorious house labels around the globe (Royal Oak, Razor-N-Tape, Toy Tonics, Local Talk, Shall Not Fade, etc.) His unique sonic touch, intertwining elements of raw analogue sounds from his synth collection and a strong hip-hop sampling background are allowing him to explore and revisit his influences to craft a solid musical signature.

Drawing inspiration from his homeland Germany, with a particular focus on the organic house and techno scene of Berlin, Sanoi has meticulously crafted Echoes Of Home to reflect his diverse influences.

Echoes Of Home finds Sanoi challenging conventional music production norms, steering clear of familiar tropes and techniques. The result is eight carefully curated tracks with a rich tapestry of ambient layers, recorded sounds, and melodies that range from quirky and playful to nostalgic and melancholic. The finely crafted drums take centre stage, emphasising the unique groove that defines Sanoi's distinctive sound.

The album traverses warm, bouncy & melodic house music, with touches of deep-house, techno & organica. While largely instrumental, the album’s centrepiece is a collaboration with Christchurch artist Beacon Bloom on the track ‘Silver’. Both artists previously collaborated on the popular single ‘Club Jesus’, once again featuring Ryan Ferris' delicate yet strong vocals. The final track on the album, ‘Moon Boy’ offers a few moments of quiet as the journey draws to an end with just Sanoi & his piano.

Created at his home in Auckland, and road-tested across multiple live performances across NZ & Australia over the past two years, Echoes Of Home sees Sanoi’s composition & production step up another level. Available on limited edition vinyl, the digital release also includes an eclectic collection of four remixes from acclaimed New Zealand artists micronism & Paige Julia, alongside German producers Gabriel Ananda & Fabian Krooss.

Over the past five years, Sanoi has become an integral part of the growing underground house and techno scene in New Zealand, all the while expanding his international presence with releases on labels Bar 25, Stil Vor Talent, Magician On Duty, and Zehn Records. Sanoi's music has already gained support from student radio stations in New Zealand and has caught the attention of tastemaker DJs worldwide

Tommy Boy Music veröffentlicht ein Compilation-Projekt mit dem Titel "... And You Don't Stop", um das 50-jährige Jubiläum des Hip Hop mit einem 6 LP Box-Set zu feiern. Es wird einige der größten Hits aus dem Katalog enthalten, von den kultigen Naughty By Nature, De La Soul, Digital Underground und Queen Latifah bis hin zu digital unveröffentlichten Hits von G.L.O.B.E & Whiz Kid, Sweet Trio und mehr.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

The COLLECTIVE RHYTHM NETWORK is a Canadian radio show established in 1998 focused on underground dance music.

The 2nd single in the series features a previously unreleased full length version of INFILTRATE’s “C'MON NOW (THE D'PAC 905 DUB)”. INFILTRATE released “C’MON NOW” in 1993 on CONTRABAND RECORDS. A stellar remix 12” was put out the following year on the legendary Detroit label KMS RECORDS. From that record, and EXCLUSIVE to this release we get the previously unreleased full length remix with a distinctly KMS sounding dancefloor stomper that stands the test of time.

DJ SLUGO is a founding member of Chicago's infamous DANCE MANIA label and a true Ghetto Superstar often referred to as the “Ghetto-father of the American Dancefloor”. Here you get a rare deep house cut “SISTA 2 SISTA”.

Detroit’s CHRIS SHIVERS released the classic “DO RIGHT EP” in 1994 on TERRENCE PARKERS’ INTANGIBLE RECORDS & SOUNDWORKS record label. With additional production by TP and including atmospheric keys and a moody rhythm “THE FIFTH INNING” is one of the deeper cuts in the catalogue. A classic for the true heads.

Limited pressing with matte varnished sleeve, designed by ANDREI STOISOR.

EVERIS'S NEW ALBUM FOR THIS CHRISTMAS 2023

Everis has returned this Christmas with yet another Sell Out vinyl that will make your collection the envy of the Soul Music World!

This new offering by the soul legend Everis entitled, Everis - “Songs in The Key of E”. This limited-edition vinyl album is scheduled for a Christmas 2023 release and features some enormous brand-new tracks. This album comprises of two magnificent award-winning singers, two international rappers, from the US & UK, plus one of the UK’s Biggest Sound System Dance MC’s performing on it. This solid Holiday vinyl smash, see’s Everis deliver exciting vocal performances, with a real feel-good factor, over these tough rehashed and fresh sounding beats that are bound to make you wanna get up and dance, there are 8 solid tracks in all.

Grammy Award winning US singing sensation, Shirley Jones of The Jones Girls, best known for her numerous No:1 hit both here and, in the US, has finally jumped on a record with Everis. She last worked with him on her smash solo album entitled “Shirley” many moons ago, and of late as part of the “Soul Syndicate” crew that remixed her ‘Soul Steppin’ track. Now they have come together on a monster track entitled “This I Know - Filly B Mix (featuring Cam Jones)” which is an absolute club banger for sure, an instant underground hit!

The rest of side A called “This Side” has even more really banging tracks, a Club / House Party smasher entitled, “Come Home Tonight” and the coolest sexiest Neo Soul Vibe titled, “Just Say the Word” with Everis giving a spine-tingling vocal performance that would leave the toughest of you feeling weak. The album also features Everis’s last UK Soul Charts No.1 Christmas hit “What You Doing to Me” which totally sold out in just one day, and had Everis’s name and music heard / played everywhere in the UK, and also earned him yet another award. The album is littered with great music from Mr Smooth from start to finish, with Fresh Cuts too, just take a look.

Building on the styles showcased on the first “Beatbox Studios” LP, Hi-Tek was clearly developing his own personal style on the studio’s in-house Akai MPC 60II sampler. The drums were swinging more; the grooves were deeper; the bass thumped harder. Even when choosing familiar samples, he was chopping them in fresh and unexpected ways, which would eventually help shape his signature sound.

As his reputation was becoming cemented in the local Cincinnati scene, his relationship with the rap group Mood was helping to catalyze more regular visits to New York City. The beats collected for “Beatbox Studios 2” were the ones that would stick in the auto-reverse tape deck for those road trips, as were the demo tapes he crafted with Mood, which would eventually earn them a record deal with Blunt Records in 1996—the same label and year where he would land his first major placement on Royal Flush’s “Ghetto Millionaire” album. It was also on one of those 1996 journeys to NYC that he would meet a young Brooklyn emcee named Talib Kweli—with whom he would form one of the most iconic duos of the indie-rap boom of the late-nineties.

“Beatbox Studios 2 (1996 MPC 60II)” showcases Hi-Tek as a hungry young talent on the rise, and his continued elevation would lead him to a career as one of the few producers who can claim to have worked with such a broad range of legendary artists; from superstars like Dr. Dre, Snoop Dogg, 50 Cent, and Anderson .Paak, to underground heroes like Mos Def, Common, and J Dilla.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.

Brazil's Zopelar continues to make stellar underground dance music and as a result, Techno House Connoisseurs has another hit record on their hands. He launches with FalaSerio into the acid jazz breakbeat stratosphere and doesn't look back as the track weaves, skips, jumps and floats...all with crisp hi's and acid distorting throughout. 808 Dream is exactly as it sounds, mezmerizing, quirky and jacking. Pads warp and drift but not too far, all while the acid worms into your head for that early am mind f*ck. Acid 1 is the peak hour monster that is set to demolish even the most discerning dancefloor. Relentless and unwavering, it's an all out onslaught of acid squelching, percussionistic chaos. This track is not to be denied and will have the walls sweating. Lastly, Zopelar and fellow Brazilain artist RHR collide to deliver an epic acid techno driver in Acid Republic. What a thrill it is hearing this on a proper system, nearly 7 minutes of pure 303 techno hypnosis. Limited 300 copies.

Repress!

Home Invasion is the new label from Real Tone man Franck Roger, a man whose career has scaled the full depths of house music over the past decade or so. Evidently seeking a new challenge, the Parisian's new imprint promises to adhere to a vehemently underground way of working, with every EP released on vinyl-only terms and produced exclusively on analogue equipment.

Wildly acclaimed, Grammy-winning artist Flume is releasing his surprise album; a surprise package of unheard music from the last decade ‘Arrived Anxious, Left Bored’ on vinyl on November 17th via Transgressive Records.

Arrived Anxious, Left Bored, released via Transgressive Records, is work reflective of the eclectic nature of Flume’s output over the past ten years since his 2012 self-titled debut album, which launched the iconic producer''s career. Spanning from underground house to atmospheric ambient tracks, Arrived Anxious, Left Bored features collaborations with celebrated producer Emile Haynie (Dua Lipa, Lana Del Rey, A$AP Rocky) and Jim-E Stack (Bon Iver, HAIM, Sudan Archives), as well as his first foray into using his own vocals with “All There 1.9 2019 Export Wav.”

a A1."SKY SKY 1.3 [2016 Export Wav]"
[b] A2."Chalk 1.3.3 [2017 Export Wav]"
[c] A3."All There 1.9 [2019 Export Wav]"
[d] A4."Road To Japan [2017 Export Wav]"
[e] A5."Jerry 1.6 [2017 Export Wav]"
[f] B1."N1cevib3 1.3 [2015 Export Wav]"
[g] B2."Arrived Anxious, Left Bored 1.4 [2020 Export Wav]"
[h] B3."Habibi [2019 Export Wav]" (feat Emile Haynie)
[i] B4."Miss U [2020 Export Wav]"
[j] B5."No Other 1.2.2 [2021 Export Wav]"

Limited to 100, this release shows the wide range of underground house music. IILLTD is resurrected with two killer bangers from our very own Habben & Black M1d1: “Hot Wade” is nothing less than a peak-time bomb, taking any dancefloor by force! On the flip, it’s “Love Talk” – a superb disco jam with strong summer vibes. Give it a spin and spread hot love!

From Milano, Italy Manuel Parravicini is a young upcoming artist getting most of his
Inspirations from the Minimal electronic scenes and the likes of Ricardo Villalobos for his first ever release here with us at NG TRAX.

Manuel Parravicini was born in Germany but raised in Italy.
He started DJing and following electronic musical scene years ago.
First in local clubs, then as a resident in Amnesia Milano.
Later on he created his own events under the name “Jimmy&Grace” in different clubs around Milan, bringing many international underground djs.
He places his sound between house grooves and minimalistic techno. He is playing vinyl only dj set and releasing his first EP on NG TRAX soon this year.

Matt Tolfrey’s Leftroom imprint makes a triumphant return here with a remix package featuring Mathew Jonson, Silverlining, Maher Daniel and Sakro, all reworking cuts from his 2020 ‘All Shapes And Different Sizes’ LP. Across the past two decades the UK’s Matt Tolfrey has been at the forefront of the underground House and Techno scene, releasing material on many seminal labels in the industry such as REKIDS, Cocoon, Music For Freaks, Crosstown Rebels, mix compilations for fabric and Classic, and of course his very own Leftroom which returns here following its last vinyl release back in 2020 from Detroit’s Norm Talley and Ataxia.

Up first on remix duties is Canadian machine maestro Mathew Jonson who remixes ‘How It’s Gonna Be’ featuring Tim Fuller, offering up his signature twitchy synth work, robust analogue drums and cinematic leads running alongside the original’s hooky vocal lines. Maher Daniel steps up next to remix ‘Feel The Same’, opting for an intricate electro tinged drum workout, wavey subs and hypnotic vocal chants.

London’s Silverlining then reworks ‘Fantasy’ featuring Shaun J. Wright next, diving deeper via a skippy, swinging drum groove, airy dubbed out chords, snaking bass groove and soulful, intricately processed vocal licks. Lastly to round things out, Sakro remixes ‘Under The Skin' featuring Lil Mark, the Mexican artist reshapes the original with his unique drum-led, groove driven style, fusing crisp snares and shuffled percussion, alongside an amalgamation of choppy bass hits, bleepy synths and sweeping atmospherics.

Repress!

Since his first Submorphics release on The North Quarter, the Detroit native has tenaciously developed his unique brand of lo-fi, deep drum & bass. With his new six-track EP ‘Verona Highway’, the Den Haag-based producer has created what he calls “a late night Detroit to Chicago road trip aesthetic”. Rooted in the underground, this project is an assemblage of techno, footwork and soulful house influences fused with his own signature earworm melodies, deep minor chords and the modern North Quarter drum & bass sound. The result is an EP that feels emotive and nostalgic while maintaining a modern atmosphere.

'Verona Highway’ marks the return of Submorphics to The North Quarter, just over a year after his critically acclaimed Newport Magnetic EP. Reminiscent of night time drives and peaceful after hours, the EP is a collection of warm, dreamy and sentimental music and is the ultimate soundtrack for serene summer nights.