Buscar:work

Welcome to the presentation of the new catalog RQM020: Francesco Passantino's Cosmic Rhythms EP. This work offers four tracks that blend the roots of the '90s with a fresh vitality of 2024, representing a journey through the artist's artistic evolution. Ideal for vinyl DJ sets, these tracks provide compelling rhythms and engaging atmospheres, making them an indispensable addition to every performance.

"Trauma and the shock effect of it - the leftover residue of harsh reality so impactful that it shapes the way you imagine, envision and calculate your position in regard to everything and everyone around you.
A new type of psychological radius evolves. Boundaries are reinforced. Relationships are recessed. A damaged brief system float aimlessly. Vulnerable to and for anything reminiscent of a worthy cause. The truth about facts became satirical monologue, dead end expressions that have no critical arrangement. We all know someone that either has been or will be"

- Jeff Mills


The Eyewitness reveals a habitual pattern in the way it symbolizes a mirror reflection of mankind in our most vulnerable moments. It is the forthcoming album of Jeff Mills and it is composed from the perspective of an unknowingly complicit bystander and it is at the very least, psychologically pathological in nature. What this release is essentially proposing is an admission to the diagnosis that no one is immune to shock and trauma. Not the accuser or the accused. And this abnormality s culturally and generally transmittable - handed down and passed over to one another disguised as righteous theatre.

As an artist, what Mills is notoriously known for is the perspectives and paths he chooses to approach hefty, complex, and sometimes, awkward subjects. The best way to recognize the narratives of his mostrecent album works such as "The Clairvoyant", an eerie transcending album that plays through like a Seance for creating a bridge to reach another dimension or "Mind Power Mind Control", a cautionary warning about the consequences of supporting deceit, mind control and mass mental persuasion is to start by first taking a moment to look at yourself in a mirror. He's suggesting sound as a reflection and what we might be able to see in ourselves. Proposing that we might be the problem and a solution. In the same vicinity of his recent solo albums, the direction, scope or target of The Eyewitness is first about us, then about it.

More than the few previous albums he's released lately, this one has a unique relationship in terms of imagery and visual treatments that represent the concept. The front cover shows Mills, neatly dressed in a black suit that appears to be caught in the act of doing something methodically as he cohorts to supportwith a bright white type of surgical light towards the viewer. Stark and in the act of.......something offensive - it could be some type of hypnotic machine at work. Other photos show him in darkened spaces. Remote and deep in thought.

Other clues are the titles of the tracks such as "Sacred Iridescent Mirror (The Pledge)": this refers to the act of installing value and credit to something ambiguous and "Menticide" which means the systematic effort to undermine and destroy a person's values and beliefs. In the opening track, "in A Traumatized World" we hear the narration spoken by Mills. In a language he specifically created for this album. It's a dialect that is designed to be undistinguishable, but spoken with a compassion that it could be sympathized with. In the latter part of the track, it reaches a climatic point. Meaning, "it" has happened. And the album is the evidence.

On extra note:

In this day and age,it's comforting to see a musician like Jeff Mills administer music conceptually without any conditions attached. The artistry and craft of using sound and rhythm to bring forth a concern, a warning or the result of a diagnosis to the listener.

The story of this EP dates back to 2021, when we—the whole BMP crew—were attending our annual family gathering at the now-defunct Sarcus festival (R.I.P).



On a late Saturday afternoon, we all gathered under the same tent to watch one of our dear friends perform live. You guessed it: this friend is Malouane. From the first track of the live set, we in the audience exchanged astonished looks. We knew he had been working hard on this live set for months but didn't know anything about it. As the live set unfolded, we kept traveling mentally in a perpetual state of amazement.


By the end of the set, we all had the same idea: to congratulate Malouane and ask for the tracks so we could release an EP that would capture the essence of this live set, allowing us to relive that very special moment.



After a long wait, we are now more than happy to share some selected tracks from the set with you, hoping you will feel the same excitement we felt at the time.
As a cherry on top, besides having four tracks from Malouane, we asked our dear friend Gabriel Belabbas—from Positive Future—to craft an additional remix, giving this EP a deep house edge.



Certified floorfiller!

2024 repress

“The doors are where the windows should be, and the windows are where the doors should be”. If you had been in one of the more open minded all night raves in the early 90s you are likely more than familiar with Earth Leakage Trip’s ‘No Idea’.

You could write several pages about the 'Psychotronic EP' and still not nail it as well as Discogs user covert_operative's description of 'urban, British psychedelic music.' The Acid House narrative is all about ecstasy, but for many, especially outside of London, there was a lot of LSD involved. Things were edgier, too, with parties in derelict, liminal spaces. By the time this record came out in 1991, the rave was properly diverging from its house music beginnings.

The Psychotronic EP was the first release on the legendary Moving Shadow label. Its lead track 'No Idea' is both the perfect entry point to the catalogue and something of an outlier. Neil Sanford had been writing music for a few years before playing some demos to Rob Playford in his car outside a nightclub in Wood Green. Simon Carter got involved, and the pair went to Playford's studio to manifest the madness they'd been sketching with rudimentary gear.

'No Idea's use of samples was wholly inspired and far more surreal than so many of the dark-side tracks that were to follow it. A friend of Neil's had given him a record called 'Happy Monsters' and the lead track, 'Adventures in the Land of Ooog,' lent the unforgettable children's vocals. Neil initially had his doubts. Had they gone too far? However, while working on the track, Rob Playford's girlfriend ran in shouting, "you HAVE to use that!" And so it came to be.

As a footnote, the track did prove to be strong medicine, with at least one documented account of a promoter having to be talked down by his friends after hearing it when psychedelically altered.

The Psychotronic EP is a truly visionary piece of work, standing poised on the edge of the rave's burgeoning future and entirely outside it. As such, it's never not been a cool record, as appealing to lysergic adventurers as it is to house heads, hardcore ravers, or experimental music pioneers. And it has now been lovingly reissued by Blank Mind, for which I'm eternally grateful, seeing as my copy is battered beyond belief.


Written by Piers Harrison

Remastered by Graeme at the Exchange

Licensed with permission from Moving Shadow

Played by Autechre, Colin Dale, Colin Faver, Orbital

Fulltone is warmly welcomed back to Lee Burridge’s esteemed imprint to unveil his newest body of work, the four track Alba EP
In crafting the Alba EP, Fulltone embraces the endless expanse of creativity. Reflecting on the elusive nature of inspiration, he compares it to the act of fishing, where patience and persistence are essential to reel in moments of brilliance. "Sometimes you catch a fish immediately, sometimes it takes hours or days, but you won’t catch any fish unless you go to the sea with a fishing line. In my case, the sea is my studio and the fishing line is my instruments."

YOIONWAX's 10th anniversary record is already here! This is our second fully printed record with an incredibly cool zoetrope artwork by Alex Mikheev. This time, we're embarking on an amazing journey to unexplored places, and our guide is the very cool and experienced musician Donnie Cosmo.

We start in a tropical forest, and as we walk through the tropics to the starting pad of our ship, Donnie suggests trying Jungle Juice. Moving on, we encounter The Man From Planet X, whose story accompanies us to a small stop as we switch from side A to side B.

Mystical Journey begins as soon as we put the needle on the record on side B. The zoetrope artwork, which is now located on the entire record, can be examined indefinitely, especially when we listen to such a soundtrack. It is at this moment that we break away from the earth and find ourselves in open space, an exciting journey awaits us. Having traveled a long road through stars, planets, galaxies, Donnie suggests Prepare Your Soul, and we prepare our souls for the transition to a new level, because we have come a long way with you, and this record is a great gift for the sixth anniversary of our project, which took place at the end of May.

We are actively working now on the development of the project and are preparing something new, we are sure it will be very cool, and you will like it, so do not miss your chance now to become the owner of a collector's edition, a truly exclusive and legendary record - YOIONWAXOIO!

The superduo formed by two authentic stars of the Italian dance scene is back with the ‘Rolling Wave’ EP on Mondo Groove. Daniele Baldelli needs no introduction; he has made a fiery mark on DJ history worldwide with his legendary sets. He built his eclectic and visionary style at the Baia Degli Angeli in the 1970s and Cosmic in the early 1980s, to the triumph of recent years, in demand at every latitude on the planet. DJ Rocca is one of Italy’s most inspired producers, his art forged in a mix of technique and passion, versatile enough to work alongside artists as diverse as Baldelli, Dimitri From Paris or one of the giants of Italian jazz, pianist Franco D’Andrea.

Daniele Baldelli & DJ Rocca are on fire in the four tracks of this new EP on Mondo Groove, which starts with the bleep sounds of the title track ‘Rolling Wave’, goes into orbit with the deep boogie of ‘Funk Infusion’ and a party number like ‘Marchin On’, and culminates in the refined disco-jazz digressions of ‘Focused Image’. A record that will be a future classic.

-"Change of Heart" is Change's 4th album, released in 1984. This album marks a significant turning point with the production of Jimmy Jam and Terry Lewis, both well known for their great effort with artists such as Janet Jackson. With their distinctive touch, Jam and Lewis brought a more sophisticated and contemporary sound, integrating elements of funk, R&B and pop. The record contains remarkable and unforgettable songs like "Change of Heart," "Say You Love Me Again" and "You Are My Melody," which deeply helped to define the '80s musical era. Deborah Cooper and Rick Brennan give powerful vocals that pretty enrich the olistic sophisticated melodies. The album received a very positive reception from both critics and fans, strengthening Change's reputation as innovators in the music landscape. Although it did not reach the mainstream sphere of previous works, it has maintained a solid following among fans of the genre. "Change of Heart" remains a cornerstone of the band's discography, reflecting the evolution of their style and the lasting influence of producers Jam and Lewis. -

Stefano De Santis kicks off this Best Of Various with Murk, as the name suggests its a dark workout from one of Rome’s finest producers. Following that are Batavia Collective from Jakarta. When we first heard the live demo for this we were blown away and had to get it out on TLM. Batavia Collective are Elfa Zulham on drums, Doni Joesran on keys and Kenny Gabriel on synth bass. All mixed by Stefano De Santis. Rounding off the A side we have Cormac Fulton and his follow up to Perplexed on TLM025 with a new track called Loungeware. Based in Salford this is another atmospheric track from Cormac featuring Netherlands born but now Rio de Janeiro based flautist Floor Polder. Floor also appeared on Steve Conry’s rework of Guinu - Eletromadinga which featured on Colin Curtis Presents Jazz Dance Fusion 4 Part 2. Loungeware was mixed by Steve Conry and Matt Cox. Onto the AA side and we have Montreal resident Mike Perras with Soullous, a superb dancefloor track, live drums and amazing keys, in fact everything you want from house music. Next up is Future Jazz Ensemble from Vibo Valentia who follow on from their Rough Time EP TLM028 and appearance on TLM030 with another broken jazz monster of a track called Over The Rainbow. Finishing off side AA is Takahiro Fuchigami from Fukuoka with another fine track called Outer Heaven, a great follow up to Strange Acquaintance which was on TLM034.

When all you want to do is be the fire part of fire… say it to yourself and then say it again. Repeat it like a mantra. It’s what UTO did.

Anyone familiar with the UTO’s lauded 2022 debut Touch The Lock, which Pitchfork praised for its “prismatic synth pop”, will be aware of the variegated nature of what they do. This album is just as colourful, with Neysa’s vocalwork sparking similarities to Kim Gordon’s off-kilter vocals, which they both ceremoniously jets through a post-electronica blender mixing stylized indie sleaze productions with 90s breakbeats.

While they might appear as a singular entity to others, UTO wrote large sections of this album apart, converging by the fireside to discuss the day’s work before coming together to hone and finish the songs. 2023 was, by their own admission, a difficult year, and that’s reflected in the Dantean themes expressed in songs such as the lead single ‘Zombie’, which arrived at the end of November as a taster for the new record; the latter’s dark heart is belied by the skittering beats, glitchy electronics and pummeling sequencers that elevate it from the void.

From fire, early man’s discovery, to AI, humanity’s next great adventure - with all of the wonders and complexities of human relationships in between - When all you want to do is be the fire part of fire really is about life, the universe and everything. Just remember, be the flame, not the moth.

Despite recent speculation and curious confirmations of an association with the pivotal Production House from those close to the source, the identity of those behind this mysteriously initialled 1991 breakbeat hardcore banger has remained a closely guarded secret for over thirty years. Despite not having a follow-up and not benefitting from the hype of big name credentials to justify inflated asking prices it has remained in high demand for over three decades as a constant in informed record bags and on discerning wantlists. It will come as little surprise to many then to find out that it is in fact the work of none other than House Crew stalwarts Floyd Dyce and MC Juice. The missing jewel in Dyce’s Production House crown, this sole FZ outing was released on one of a handful of short-lived Production House sub-labels that served as platforms for Dyce’s prodigious output, and can now take its rightful place alongside his other production and writing credits with the likes of Acen, The House Crew, Brothers Grimm, DMS and Baby D. Available once again on 12” black vinyl and licensed with the full-cooperation of Dyce himself it has been faithfully remastered from the original studio source material with the lacquer cut by Beau Thomas.

Chamber music masterpiece with electronics

Albert Alan Owen was born in Wales in 1948 to parents of Welsh and Latvian heritage. His family later moved to Zimbabwe, where his father took up a teaching position. There, Owen was deeply influenced by local music and culture, while also exploring American RnB and jazz. It was during this period that he became acutely aware of the harsh inequalities under British colonial rule, which instilled in him a lifelong aversion to discrimination and racism.
In 1967, Owen returned to Europe to pursue his studies and enrolled at the Royal Academy of Music in London. He went on to spend time in Paris, studying composition with the eminent Nadia Boulanger and piano under Jacques Février, a favorite pianist of Ravel’s and Poulenc’s. Owen's focus shifted almost entirely to composition, and the acquisition of a Fender Rhodes electric piano marked the beginning of a divorce from his classical Western training. This transition allowed him to merge his passion for African and African-American music with the impressionistic styles of Ravel and Debussy while exploring the innovative realm of electroacoustic composition.
These formative experiences framed Owen’s career as a composer and educator at the Royal Academy of Music and London’s Working Men’s College. He eventually returned to Wales, where he continues to reside.

In 1979, 29-year-old Albert Alan Owen released Keyboards & Strings, a light magical chamber music masterpiece.
Transcending the formal conventions of its era, Keyboard & Strings is an acoustic and electric piano piece, where the violin is met by synths and electronics.
As is often the case in Albert Alan Owen’s most intimate works, there is a sense of ethereal beauty that emerges from the music, akin to the emotional state one might experience while contemplating a Félix Vallotton landscape or the unfathomable mystery of dawn’s first light.
Quiet, profound, and immersive, Keyboard & Strings stands out as an electronic-age tone poem, a rare gem that transcends time and place.

Kicking off 2024, Modern Life Is War introduces the Tribulation Worksongs sessions as a single 12"EP/Digital album. This release consolidates all three 7"EPs along with "End Times Dub," a dub version of "Feels Like End Times," creatively reimagined by Urian Hackney (Rough Francis, Iggy Pop, The Armed, etc). The packaging for this release features a collaborative visual effort from Jeffrey Eaton, Thomas Hooper, and J. Bannon. Tribulation Worksongs was recorded by Luke Tweedy at Flat Black Studios, mixed by Kurt Ballou at God City Studios, and mastered by Brad Boatright at Audiosiege. Originally released as a series of three 7"EPs between 2018 and 2021, the lyrics and credits for each song were typed by vocalist/lyricist Jeff Eaton on his 1950s Royal "Quiet De Luxe" typewriter during the initial presentation. These typewritten elements were later hand-stamped on the front and back covers of the EP by artist J. Bannon, resulting in each cover being entirely unique. Additionally, the labels on the vinyl were hand-stamped before final assembly by the team at Deathwish, which will see physical release on March 22nd.

On his new album always centered at night, moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

“Because of that randomized freedom, I’ve been on the receiving end of so much genius work,” says moby. “And the result has been one of the most exciting, surprising things I’ve ever done as a musician, and it’s one of the most worthwhile things a human being can do: make tender, gentle, vulnerable music that’s a clarion call to act.”

Featured on this album are some of the most exciting vocalists of our time. Some are well-known - such as serpentwithfeet on the breathless daydream of a song ‘on air’, the jazzy soulstress Lady Blackbird on the haunting ‘dark days’, or the astounding poet and activist Benjamin Zephaniah on ‘where is your pride?’. Other contributors have been found in relative obscurity - such as friend and vocalist Brie O’Banion on the Cream cover ‘we’re going wrong’, or Sheffield poet laureate Danaé Wellington on the powerful ‘wild flame’.

“The goal for always centered at night is to do something uncompromising,” says Moby. “To make music that is emotional, atmospheric and potentially beautiful. And what better use of this weird privilege I have than trying to foster creative expression that has uncompromising integrity?”

Having plied his trade around the world for more than three decades, German guitarist, bandleader and musical explorer Jan Whitefield has always instilled in his craft a natural aesthetic of authenticity, a key component which has seen him amass a sizeable and varied catalogue of material which has remained timeless where some of his contemporaries have faded away.

In the early 90s, as various UK bands were signed up by sizeable labels and enjoyed even mainstream chart success in the Acid Jazz and rare groove boom, Jan and his brother Max formed the Poets Of Rhythm, self-releasing their own uncompromisingly hard-edged take on 70s street funk on the then completely unfashionable 7" single format, forerunning the Deep Funk scene by almost a decade. 30 years on, in spite of a legion of retro-focused bands having followed in their wake, few have yet to come close to matching the energy and spirit of those early Poets 45s.

Since then, Jan has applied himself to all manner of new incarnations and innovative side-projects, releasing further funk surveys as the Whitefield Brothers before leading his own band under the pseudonym Karl Hector, with releases on labels such as Stones Throw, Daptone, Ninja Tune, Mo'Wax, Strut and more. An avid music lover, explorer and record collector extraordinaire, Whitefield's music has effortlessly absorbed his expanding interests along the way, particularly drawing influence from Ethiopian Jazz and West African funk and highlife, as well as Kraut-rock and ambient via his Rodinia alter-ego.

More recently, Whitefield has begun to venture into the astral planes of what's now commonly referred to as 'spiritual jazz', and this is very much where we find him manifesting on 'The Infinity Of Nothingness'. A set of mature, delicate and meditative orchestrations, like much of Whitefield's best work the album is studiously true to its key influences - and in this instance the twin figureheads of Sun Ra and Pharoah Sanders are particularly preeminent - but also completely avoids falling into a trap of mere tribute or facsimile. With subtle yet diverse accents of Hip Hop, Library and the Avant Garde appearing wholly unobtrusively, the album is unified by a marked trance-like feel, beginning with the sparse, processional opener 'Nothingness' through to the 3 part 'Infinity Suite' of 'Time', 'Space' and 'Energy'.

As he did as a schoolboy with the Poets of Rhythm, with 'The Infinity Of Nothingness' Whitefield achieves that exceptionally rare feat of creating music that is not only worthy of sitting alongside that of his overarching influences, but will also stand up with it against the tests of time.

Through the medium of a distinctly synthesised, sustained ambience, seasoned artist and composer Jasmine Guffond arrives on OOH to explore the tension between technology and human creativity in an increasingly ambiguous playing field.

Alien Intelligence came into being during Guffond's residency at fabled Parisian institution GRM in 2021. While learning how to generate sound and make music with the in-house Serge modular synthesiser, the Australian artist noticed the typical role of human input for machine output was being subverted by the behaviour of certain electronic elements, which came to exercise their own influences on the direction of the music.

Taking this idea one step further, Guffond proceeded to explore the programming environment MaxMSP, a customisable interface which allowed her to blur the lines between human input and machine directives even further. Across the three extended pieces which make up Alien Intelligence you can hear the results of Guffond's inquisitive approach as she coaxed the machines into bringing their own ideas to bear on the music.

The tension inherent in this thematic duality is mirrored by the contrast between glacial ambience and chaotic interference across the album. On 'Serge & Maxine Variation One' the presiding mood is a slow and patient one, as undulating waveforms rich with harmonic overtones spill out over one another across 10 minutes. The track's latter passage, driven by steadily intensifying oscillations, is then interrupted with an unexpected flurry of pitch shifting. This kind of complex technical movement features more prominently at the start of 'Serge & Maxine Variation Three', which then gradually shifts into a gentler ebb and flow of rising and falling frequencies.

Angled slightly differently and residing on the B side of the album, 15-minute quiet epic 'Serge & Maxine Variation Two' bookends a louder passage of synth work with serene, sustained notes that ring out a sort of hymnal melody. Throughout, the movement in the music evolves in subtly modulating, hypnotic, ways, but there are also unexpected turns or melodic diversions which feel much more incongruous. In its closing stretch, the notes dart around more freely as though played by hand, but it's hard to be sure whether these shifts in the otherwise delicate tonal music were a human conceit or a programming by-product. In the end, the two inputs logically become one.

As Guffond says herself, "More-than-human logics emerge, a kind of alien intelligence that questions an assumed central position of human subjectivity in socio-technical assemblages and considers the philosophical, socio-political and cultural implications beyond music practice in an increasingly technologically mediated world."

As AI creeps into art as much as other aspects of modern life, Guffond applies her playful instinct to the theme of these works by re-considering machine intelligence as 'alien', crediting its contributions with a more robust yet enigmatic identity in the creative process, leading to an end result which is far from artificial.

►Mastered by Giuseppe Ielasi, cover art by Ilan Katin, layout by incepBOY, photo by Camille Blake, words by Oli Warwick

Artwork by Taychin Dunnvatanachit.

Siamese Twins embarks on its 10th release milestone with the acclaimed Thai performance artist Tul Waitoonkiat. In หนึ่งคำถาม (One Question), Waitoonkiat's poetry is conjoined into a versatile sonic meeting of minds, created in collaboration with producers Black Merlin, Sapphire Slows, and Sleep D. Aligning seamlessly with Siamese Twins' trademark ethos of cultural reflection and interdisciplinary exploration.

Waitoonkiat, known for his socio-political work "2553," which reflects on the 2010 military crackdown in Thailand, has presented his novel "Silence is Violence" through multidisciplinary art exhibitions across Bangkok. One of these collaborations with Siamese Twins’ Khun Fluff in 2022 established a profound connection and laid this release's foundational recording layer. The recorded poem explores existential themes, pondering the endless cycle of questioning and the dichotomy between silence and imagination, darkness and light, with its contemplative imagination setting the stage.

The A-side unveils George Thompson's universe, known in the terrestrial realm as Black Merlin, with two noirish cinematic explorations that compose Waitoonkiat’s trademark expressive and enigmatic voice into the release's fabric. Showcasing Thompson’s ability to create hypnotic, depth-charged soundscapes that captivatingly feed into a broader story rather than claiming center stage.

The B-side begins with a delicate approach to sound design, crafted through the Buchla synthesizer by Japanese modular artist Sapphire Slows. The charm of this version lies within the sustained notes that gently inhale and exhale between enigmatic vocoder effects and layers of beauty, nature, and technology.

B2 closes with a seven-and-a-half-minute peak timer revolving around a pulsating bassline and driving force of drum energy. One craving for packed warehouses and bush raves by the Australian wizards of OZ and Butter Sessions label owners, Sleep D, aka Corey Kikos and Maryos Syawish.

After touring the globe showcasing their A/V moshpit-inducing live show, they are revealing their new musical creations to an unsuspecting public. Never Sleep are proud to present a landmark moment in the Japanese hardcore new rave scene. The blinding lights of DEATH RAVE point to an untraveled journey, a sci-fi fusion of black metal, gabber, cyberpunk, performance art and techno. It’s their first for the Berlin label (founded by Gabber Eleganza) following 2021’s EP Principle of Light Speed Variance. Full description VMO aka Violent Magic Orchestra break through the darkness and herald a spectacular mould-melting sound on their forthcoming album DEATH RAVE. After touring the globe showcasing their A/V moshpit-inducing live show, they are revealing their new musical creations to an unsuspecting public. Never Sleep are proud to present a landmark moment in the Japanese hardcore new rave scene. The blinding lights of DEATH RAVE point to an untraveled journey, a sci-fi fusion of black metal, gabber, cyberpunk, performance art and techno. It’s their first for the Berlin label (founded by Gabber Eleganza) following 2021’s EP Principle of Light Speed Variance. Ahead of the release VMO have brought their digital harcore to festivals around the globe, including Roadburn Festival, BANG FACE Weekender, Brutal Assault extreme music festival, Le Guess Who?, CTM Berlin and Dark Mofo. Their performance is the ultimate extreme visual music project in which techno, black metal, and industrial unite to create a ritual from the near future, 2099. All visual art and stage setting is provided by non-touring member, artist and programmer Kezzardrix (who has been visual director for millennium parade and BABYMETAL previously).The power consumption of a VMO show is equivalent to 56 guitar amplifiers, 5000W, a mind-expanding supreme noise and light experience. The band members all go by the names of classic black metal bands rendered in the Japanese katakana script; “ダークスローン”; “メイヘム”, and “エンペラー”. Their new LP is the first to feature lead vocalist ザスター. The record features guest vocals from extreme metal icon Attila Csihar, known for singing with Mayhem and Sunn O))). Other featured artists include Dylan Walker, singer of Full of Hell, punk-techno artist Infinity Division (aka Ash Luk), Icelandic darkwavers Kælan Mikla and Ican Harem of Gabber Modus Operandi. The result is a leap forward from their 2016 debut, where they have found a singularity where death metal meets Kraftwerk, or Rephlex goes black. Dressed in corpse paint and other hell-raising looks, onstage they are like “Shinigami (death gods) from the Death Note manga”. Singles Venom, Supergaze and Martello Mosh Pit featuring Gabber Eleganza have been released in the lead up to the record and have been shocking techno dance floors too with their hi-NRG-symphonic doom-gaze. They have shared their video for Planet Helvetech (here), created by Berlin-based Patrick Defasten. Helvetech combines the Norwegian word for hell (hevlete) with techno and is a reference to the infamous black metal shop founded by Mayhem’s Euronymous. It’s a song that imagines time travel from 2099 on the planet Helvetech (where VMO comes from) to 1990s Oslo. In 2023, they performed at the CTM festival in Berlin, as well as at Berghain, receiving rave reviews. At Sydney’s leading multi-sensory SOFT CENTER festival they drove the crowd into a frenzy on the 17 metre X 30 metre jumbo screen. They have also collaborated with artists, performing at the two day installation by the trailblazing Tianzhuo Chen - The Shepherd - at the Kyoto International Performing Arts Festival in 2021 here. At Sónar 2023, VMO provided the music for Taiwanese visual artist Yuen Hsieh’s work about virtual life after death DIGITAL AFTERLIFE AGENCY here. VMO will tour the world again for the new record, with appearances at ROSKILDE and media art and music fest Sónar 2024 announced so far and the DEATH RAVE experience getting bigger and bigger.

Thirsty work!

Leeds-based long-time friends Kepler & Wickham join forces for the first Thirst release, with four varied and functional house cuts. ‘The Recipe’ kicks things off with a wiggy bassline and plenty of energy, Octa takes things into more melodic territory with a nod to classic deep house. The B side starts in hypnotic fashion with the golden-era UK tech house influenced ‘Represent’, before the closing future classic ‘Free Your Mind (Deep Mix)’ wraps the package up nicely. Something classy for all occasions.

THE TWO CLASSIC AND HIGHLY COLLECTABLE INEVITABLE SINGES PLUS RELATED PEEL SESSION RECORDINGS. CAPTURING THE FIRST TWO YEARS OF DEAD OR ALIVE’S CAREER. ON BERRY-RED VINYL! A SEQUEL AND COMPANION RELEASE TO 2023’S CRITICALLY AND COMMERCIALLY SUCCESSFUL ‘LET THEM DRAG MY SOUL AWAY’.


Having been ‘discovered’ working in Liverpool’s Probe Records during the punk rock explosion of the late 1970s, Pete Burns quickly found himself fronting his very own band, Nightmares In Wax, who quickly mutated into the more familiar Dead Or Alive.

A star was born. But prior to pop superstardom, tabloid-tantalising celebrity and his later revival and recognition as an icon of gay punk and pop culture, Pete led Dead Or Alive into far darker waters, as one of the earliest explorers of the post-punk Goth scene.

Captured on two remarkable 7” singles originally released on Liverpool label Inevitable, the band also caught the attention of the
ever-reliable John Peel, and recorded material for his seminal BBC Radio One programme. ‘Running Wild’ compiles those early
singles and related Peel Session highlights, bringing the latter to vinyl for the first time. Pressed on berry red vinyl,and housed in
a cover photograph by Dead Or Alive’s then manager Francesco Mellina, ‘Running Wild presents an early glimpse at the
phenomenon Pete would become, and a long overdue back story accompaniment for fans and collectors alike.

Experience the latest journey through Rabe's musical universe unfolds on her seventh vinyl release, characterized by a trippy yet propulsive sound, reflective of her distinct style. The entire 12" record is embellished with a remix by the renowned Spanish producer, Reeko. "Phonix's Ash" introduces a mystical groove, further enhanced by Reeko's hypnotic remix, focusing on immersive grooves rather than dramatic breaks. The B-side is equally intense, with "Long Nights" inducing a dizzying effect and "Drowning Rivers" creating a dreamy and harmonious atmosphere. As always, Rabe's personal works invite listeners to dive deep into her infinite universe of perception.

'Sounds From The Northern Hemisphere' is a collection of live-recorded takes, registered between 2021 and 2023. The Icelandic extraterrestrial scenery was the main inspiration for this work. Similarly to the nature of each landscape, every composition was crafted with a genuine and spontaneous approach, entirely avoiding digital instruments.

A methodical sound research was enacted, exploring the analog behaviours of classic and modern machines. The result is a minimalistic and intense merge of sounds: simple, but meaningful.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Reissue

Broken Techno / Electronica label Theoretical Rhythms is taking it to the next level with their first vinyl release. Label boss Nickel Eye is honoured with the production duties and come up with a beautiful album which can be described as an audio Sci-Fi poem. Rich textures and pads are present in all tracks giving the album trippiness bringing the listener on a cosmic excursion. Steady broken beats keep the things on a dancier side and the listener can have a dance while watching the stars listening to the album.
Space Child is an album that would work equally well at home on an individual journey as well as on the dance floor where each party goer can take their personal trip

Following the success of their first release with Serpico’s ‘Just Can’t Stop’, Moonworks are reissuing a highly sought-after UK house 12” from The Outsiders, originally from 1995.

The Outsiders’ Beyond The Ego EP is a lost London gem born from the UK capital’s rich musical heritage and the transatlantic influence of deep house. Produced by two close friends Mark Mellor and Paul Murphy within 48 hours in their Westbourne Grove home studio, its fusion of US house production techniques with a myriad of UK influences has cemented its status as a timeless and unique treasure.

The record received few plaudits on release but has since become a sought-after underground rarity, with scarce original copies trading hands for hefty prices. Whether you draw for the euphoric Warp Factor 9 Mix, the stripped back Ego Dub or the sun-kissed grooves of Do Dat Scat and Shu Bop, the record epitomizes the tasteful and quirky sound of UK house music from the 90s.

Moonworks have once again worked closely with the original artists to restore and remaster these tracks to modern standards, as well as revamping the original artwork in their own style.

DJ Support: Danny Howard, Pete Tong, Sarah Story, Triple J, Groove Armada, Jamie Jones, Marco Carola,Nic Fanciulli, Sam Divine, Carlo Lio, Mat.Joe, Todd Terry, Jansons, Eskuche, Moon Boots, Format:B, Low Steppa, Robosonic, Dantiez Saunderson, Charlotte Van De Peer, Dario D’Attis, Shiba San, Dennis Cruz, Pirupa, DJ Rae, Danny Tenaglia, Rene Amesz, Juliet Fox, Ashibah, Boris, Carly Wilford, Booker T, Dateless, Melvin & Klein, Paco Osuna, DJ Lora

Nothing Else Matters is proud to bring an exciting new vinyl from HoneyLuv who makes her debut on Danny Howard’s imprint, teaming up with New York DJ, producer, singer-songwriter and vocalist Roland Clark for their brand-new single, ‘This Is My Life’. Crowned Radio 1’s Future Star of 2023, HoneyLuv has taken the Dance scene by storm in recent years with support from Seth Troxler, The Martinez Brothers, Nicole Moudaber, Kevin Saunderson, Maya Jane Coles, Loco Dice, Idris Elba and more, with releases signed to Black Book, Insomniac, Tuskegee, Three Six Zero and more. On the other hand, Roland has worked and co-produced music with many of the greats, including Fatboy Slim, Mark Knight, Todd Terry and Bob Sinclair, with his vocals considered the “voice of House” and one of the rare few that can bring you an electrifying DJ set while getting on the mic and giving you a performance unlike no other. Making for the perfect pairing, ‘This Is My Life’ is set to propel both artists to even greater heights and will surely be a firm favourite at clubs and festivals worldwide this year. Kicking off the B-side is a killer rework from the legendary Carl Cox who brings his A-game with this one infusing his signature grooving basslines and high-energy, hypnotic percussive grooves. Rounding off the package, Bontan’s rework delivers organic drums and captivating Afro-House rhythms catapulting the track to new audiences and new heights.

DJ Support: Mark Knight, CJ Mackintosh, Mousse T, Dr Packer, Eric Kupper, Lenny Fontana, Ricky Morrison, Laurent Garnier & many more.

Michael Gray’s star has been firmly in the ascendant in recent years, with a string of chart-topping, floor-filling productions and remixes under his belt. The excitement is therefore palpable for his soon come album Optimism, which sees Michael pour both his heart and his three decades + of experience into what will be one of THE albums of the year.

'This album has been a year and a half in the making,' states the ‘Weekend’ hitmaker and one half of legendary disco house pioneers Full Intention, clearly now keen to release his career-defining magnum opus out into the world.

In these confused and often frightening times, we need musical communion more than ever. Only too aware of this, Michael has 'set out to make an album full of positivity.' Needless to say, the resulting 'hybrid of classic disco mixed with modern disco and soul' hits the spot and looks set to provide a soulful summer soundtrack to lift spirits and fill dancefloors.

In an era of often generic, over-computerised sounds, Michael returns to the source of his lifelong musical inspirations. 'Most of these productions have involved working with live strings and horns,' he enthuses. The musicians include live drums by Derrick Mckenzie from Jamiroquai, percussion by Russ Tarley from Incognito and string arranger Stephen Hussey, known for his work on Soul II Soul’s early hits.

Michael’s much-needed musical missives for the ages are masterful manna from the heavens. Things just got optimistic.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

2025 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

The tune entitled 'Smite Dem' is a fully self-produced release that we had made entirely in a remote collaboration style between both our own studios (Selah Dub Studio & Blak Nile Studio) where we had both decided on doing 2 different grooves on the project after initially working tirelessly on the original one drop groove version (which you can hear mixed on the first 2 mixes of the record). This is what set the way for inspirations with the dubs to let loose after one morning waking up and messaging Mali together a serious warrior style steppas pattern for the project. He did that without fail as that being his forte. At this stage it then led us to both be very ecstatic with the outcome of the creation at hand.

With great honour we are pleased to share with you the fully completed first wave of collaborations from this booming link-up ready to blaze up plenty of sessions worldwide! The message is here and the word is clear; let us live in love and not have any fears! Keep your shining light bright for all mankind, oh Jah!

Caedite Eos is thrilled to present another intense various artist EP for its forthcoming vinyl release,showcasing a talented lineup of Spanish artists.Kicking offthis EP is Hurtado with his track "No Surrender". With previous releases on Overstep,Body Theory, and Shiv (a label he co-runs with UVB), Hurtado brings his signature style, deliveringa relentless onslaught of heavy offbeat techno.Following suit is Neurite, making his debut on this EP with "Black Eyes".

As co-owner of Madrid'sunderground techno party "Crudo", Neurite brings a fresh perspective with breakbeat techno,weaving tension-filled atmospheres and lively percussions into his captivating track.

Returning to the label is SlugoS with "Self-Inflicted". Fresh from his recent release on SacredCourt, SlugoS, the label owner, presents an elegant hard techno gem designed to ignitedancefloors with its infectious groove.

Rounding up this EP is TKNS with "Cacharreo y Dinamita". A familiar face on Caedite Eos, TKNS, known for his previous work on the label and a recent remix for EKKA, delivers a breakbeattechno journey that steadily builds to a climax after the main break, showcasing his talent andcreativity as a dancefloor killer.

This EP encapsulates the essence of Caedite Eos - a celebration of cutting-edge techno withdiverse influences and uncompromising energy, destined to leave a lasting impression on technomusic enthusiasts worldwide.