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At times where technology inexorably infuses into humankind, Ammar808’s next adventures lays within the realms of Stambeli’s invisible creatures, an old genuine Tunisian tradition that has roots spreading out within the depths of the African continent.

Stambeli is a Tunisian musical therapeutic ritual that was implanted by afro-descendant communities. During the ceremonies, music, dance and chants are blended so as for some participants to reach the alternate state of trance while they are possessed by super natural entities. It is a syncretism between Islam and animist Yorisha religion’s voodoo beliefs, that has been disseminated during slave trade by Yoruba populations originating from current Benin’s gulf. Stambeli is a precious legacy the symbolizes the outstanding diversity and complexity of the North-African identity.

Using drum machines and analog synthesizers, he summons super natural creatures to visit our material world and taste human incarnations, form the audience’s collective experience. The album features vocals and gumbri from Bellassan Mihoub, who inherited his father’s knowledge and mastery, and currently embodies the avant-guarde of Stambeli’s revival. Two additional choristers round off the stage band, also playing the krekebs: these are pairs of large castagnet-like instruments oscillating in the limbo between binary and ternary rhythmic patterns. They breathe life and motion into this pagan communion, blessed by VJ Sia original visuals synchronized to the thundering music.

Super Stambeli is a contemporary interpretation of the Stambeli traditional repertoire, processed through a time-travel washing-machine, a parallel-dimension earthquake portal, that aims to echoes ancestral ceremonies through sub-harmonic speakers. It’s a dialogue between the wailing of the gombri, known to call for the spirits to descend into the bodies of the participants, but this time AMMAR808 directs them straight into the digital circuits of his clockwork-crafted machineries.

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

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

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

A perfect combo of blended brains and brawn!

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

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

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

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

Artist unknown - 2 boys bootleg

You cannot pass up this absolute hit. A compelling catchy vocal on an iron beat that completely rocks the dance floor. Do not expect a dry kick but an energy that completely fills the room. Ideal ending if you want the tent to be on fire. As the track itself says, you will not be disappointed, on the contrary

Fred Hush - No way back

Very constructive violence with an incessant break that you do not expect.

Fred Hush - Momenstoch

You simply must have this DJ tool from Fred Hush in your arsenal. Minimalistic with an original sound
that is the steak of the record. It is exactly a futuristic old skool record.

The legendary Zed Bias is stepping out with a new label I Feel Good Records and intends for it to spread good vibes only through a diverse roster of talent and sounds that span house, bass and beyond. He has more than a quarter of a century of experience in the game and of eyeing new talents and helping them to shine and has always had a collaborative approach to music that will continue to define this label's MO. Zed is minting the label with a new single alongside award-winning d&b MC Inja.

'You Should Dance' pairs his warming tones with infectious garage drums and smeared, soothing chords that radiant heat. It will, indeed, make you feel good. D&b mainstay Bladerunner serves up a remix that has been doing the rounds for a while now and never fails to make an impact.

It’s been a few years since Captain Mustache took a ride with Kompakt – 2021, to be exact, when he released the “Everything” single, and subsequently made an appearance on that year’s entry in the Total series. But this visionary French producer has been busy, indeed fiercely productive, ever since, appearing on Helena Hauff’s Return To Disorder and John Digweed’s Bedrock, collaborating with Dave Clarke, Popof, The Advent, Paris The Black Fu, Keith Tucker from AUX88... and two beautifully eloquent albums, Tourbillon Nocturne and Indigo Memories. But with The Super Album, Captain Mustache returns to Kompakt with his most sublime collection yet. On The Super Album, the Captain soundtracks an imagined “whole day for party people.” He welcomes friends old and new on board: opening with the poetic club banger of “About Love”, with guest appearance from Speakwave (aka dynArec), The Super Album shifts gears into the lush, sunny “Shifting Basslines”, where Captain Mustache’s pulsing electro-disco is the perfect fit for a third collaboration with electroclash pioneers Chicks on Speed. After the deep techno pulsations of “Laser Me” and the glitzy pop shine of “Gimme Ya Mustache”, more guests arrive: Arnaud Rebotini of Black Strobe on the slinky “I Love Watching U”, and then a spoken cameo from the truly legendary French disco diva Amanda Lear on “Mustache Of The Universe”, a glitzy glitterball of a song that’s shrouded in ghostly synths. All those tracks appear on the 12” version of The Super Album – download the digital version and you get six more slices of Mustache magic. Here, the narrative turns more insular, more dancefloor focused – the party people have moved through the daytime and they’re in their element, diving deep into the night-time economy. The album spirals, beautifully, into stark electro, driving techno, with great moments of beauty and melancholy – see the pointillist arpeggios of “Everything” (which features Play Paul), the disco stomp of “Acapulco Citron”, and a breath-taking double-bill of stripped back psychedelic electro on “Pulsions Organiques”, and the layered, luscious, swooning “Clair-Obscur”. From there, it’s an astral glide into the Dopplereffekt-ish “Galaxian Symbiosis” before Foremost Poets join Captain Mustache to wave the night goodbye with the brittle, brilliant “Floorwax”. It’s a day in the life, but all in service to the pleasures of nightlife; the dancefloor is The Super Album’s beacon, your body the pliable material moulded into evocative new shapes by this dense, hypnotic, brilliantly pop album.

GRAILS don’t mince words. Awesomely communicative but entirely instrumental, this dynamic band’s violin, guitars, piano, and drums collide with sober melodies and massive emotion. At alternate moments, Grails can sound vaguely classical, Eastern European, Irish, like the lost tapes of Pauline Oliveros, and, you know, rock. They’re not really like anything else on the Neurot roster, but they’ve got something in common with all the Neurot bands: a commitment to intense music that forges new paths and, yeah, communicates in the most real way possible.
Grails have their fair share of ambient noise - shivery violins, a trickle of a high-hat, the amplified scrape of a guitar string - but their music is based on strong, narrative melodies that resonate in the heart. At times it sounds delicate, but they never cower; Grails ROAR, even when they’re being quiet.
The Burden of Hope is the debut LP, following a pair of self-released, eponymous ep’s in 2000 and 2002. The LP is the culmination of a year’s worth of recordings, including a reinterpretation of Sun City Girls’ classic “Space Prophet Dogon.”
Grails are gathered in Portland, Oregon from Baltimore, Little Rock, Louisville, Chapel Hill, and Reno. As an ensemble, their respective backgrounds in hardcore, classical, folk, and rock blend seamlessly. Formed in late 2000 to execute live the bedroom recordings of guitarist Alex Hall, the once-tentatively-assembled group found unexpected success with both audiences and local press. Originally formed under the moniker Laurel Canyon, the name of the group was changed to Grails to coincide with the release of The Burden

Absolute smasher of a two-sider 45 out of Waycross Georgia licence from original band member Michael George & Tim Gillans with help from DJ MR Big Happy & Daniel Mathes. I flipped the sides for the re-issue with the A side now being the more uptempo 'What About Love' a melodic spaceyfloater (you know I'm a fan already) with a brilliant vocal and top sax break, just killing it for me. On the flip, 'Dream of a lady' is an absolute killer downtempo floater, I can't stress enough not to sleep on this side, it's a textural dreamy wonder.

Right in the heart of our sacred season, we are dropping a gem from the one and only BCee. A veteran of the scene and introduced to us by fellow legend Utah Jazz, BCee has become an integral part of SUNANDBASS over the last decade. From his joyful interviews in 2022, to our joint nights with Spearhead Records in London, BCee embodies the true meaning of SUNANDBASS and therefore will play the closing set this year!


His new EP "Shelter" is the culmination of BCee's long standing relationship to SUNANDBASS. BCee captures the Sardinian smells, the warm sun on your skin, the distant echoes of music dancing over the San Teodoro coastline, transforming it into this four track EP that instantly makes us feel at home.

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

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

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

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

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

Mal- One’s new single tells us about the punk fanzines that initially appeared in late 1976, but really exploded in 1977.They provided vital information on the scene and later became a great artefact of the time. A quick, fast, format, put together by fans of the music. It provided a great way to communicate with likeminded people. A couple of interviews with band members, that were keen to encourage the support. Culled together with some reviews of gigs attended and reviews of new releases, then quickly photocopied, stapled together and away you go. It’s amazing how many fanzines there were. Some examples are listed in the lyrics of this track. If you got your fanzine copies to Rough Trade, who seemed to take them all !!!, man you got it made. The hard copy these days seems a thing of the past and is sadly missed. Today’s messages arrive mainly in digital format. To take another example from the lyric ..Punk Rock Fanzines way to go…. and only 25p a go…

Colored Repress!

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

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

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

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

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

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

"BASELINE CAVI" is a collaboration album between Inland Empire/Los Angeles rapper Trizz and producer MIKE SUMMERS (aka Seven) from Kansas City. The album has that classic Westcoast Hip-Hop sound and the intro track gives that feeling right away. Guest features on the album are from Bino Rideaux, XV, T.F, ICECOLDBISHOP, John Givez and Bale.

Though fans may not know it, this collaboration between Inland Empire California emcee Trizz and Kansas City production ace MIKE SUMMERS has been brewing for close to a decade. Back in 2013 SUMMERS (then known as Seven) was already a prolific producer signed to Tech N9ne's Strange Music label and Trizz was part of horrorcore legend Brotha Lynch Hung's Madesicc Muzic roster. The two connected while working on Lynch Hung's "Mannibalector" album and a spark for future work was laid.

Linking up in spring of last year, the two creatively fed off each-other with the resulting album evoking classic West Coast melodicism and car-rattling thump. As Trizz states "this sh*t is so f*ckin authentic. It got bounce, it's swangin' and bangin! When you hear this album, you can feel it and damn near smell the palm trees and bomb ass weed."

As SUMMERS relayed "It's probably different for a lot of my fans to hear a more classic West Coast style of production from me, but that style of production has always been embedded in my sound. I grew up on 90's West Coast Hip-Hops studying producers like DJ Quik and Dr. Dre. The only reason I started using lots of live musicians on my tracks was because I watched Quik do it. BASELINE CAVI really let me dig into that classic L.A. sound that I've always wanted to build with.

Lyrically Trizz's immediately distinctive flow and storytelling abilities are at a new plateau with the emcee admitting "The lyrics on this album are probably more refined and defined because I just turned 30 and I have no more time to waste."

London Records and Central Station Records join forces for a spectacular array of new music releases. As the first offering, David Penn takes on the Sex-O-Sonique classic from 1997, which samples the Herbie Hancock anthem 'I Thought It Was You'. David Penn, a master of his craft, has earned critical acclaim for his innovative approach to house music and his ability to create infectious grooves that resonate with audiences worldwide.

Full Intention aka Sex-O-Sonique also deliver their own updated version for 2023.

DJ support:

Bob Sinclar, Eliza Rose, Jamie Jones, Oliver Heldens, Mark Knight, Mousse T, Anton Powers, Just Kiddin, Roger Sanchez, Bakermat, Westend, Sgt Slick, Kokiri, Hector Romero, Horse Meat Disco, Kevin McKay, Michael Gray, Superlover, Watermat, Russell Small (Freemasons), Sugarstarr, Dario D'Attis

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

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

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

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

Bar Musica kicks off 2016 in style with a new EP from Bartomoleo that features one hot original as well as remix from Einzelnkind.

Unlike many in the dance world, Bartomoleo has formal training in classical music behind him. He is influenced by everything from jazz to blues to new wave and exploring electronic music comes naturally to him. His beats are richly detailed and expertly produced and his DJ sets are equally considered. Essentially, he has a delicate and emotive touch and that shows in this new EP.

The excellent L'Azdora is a deep and bubbly home cut with loose percussive patterns and rubbery drums full of warm human feelings. Trippy synths add a curious vibe and colourful pads help flesh out the groove. It is a turning track full of feeling and musical invention and is sure to get into the soul of all who hear it.

German Cocoon star Einzelnkind remixes and does so with a more uptempo slant. His version is slick and tech house feeling, with watery droplets, energetic drums that have real force in them and lots of fluid percussive lines that make you want to move.

This is a tidy two track package that confirms both label and artists to be right on form.

Acen returns once again with a box set to celebrate Close Your Eyes and Window In The Sky. 2 years in the making, but so worth the wait. All the original versions of the tracks are beautifully remastered from the original DAT’s but it also meant that Acen could sprinkle his magic dust once again on these classics for a new auditory explosion of authentic early 90’s Acen.

To round out the box set, we had some remixes done by some of the hottest names in the old skool resurgence, Jonny L, New Decade, Nookie, Ray Keith, Austin Reynolds, along with Kniteforce’s very own Ant To Be and The BradderCase but Alex from Hyper-On Experience pulled a rabbit right out of the bag and had the beautiful vocal talent that is Ella Sopp resing the iconic Window In The Sky vocal, and that is the icing on the cake for sure!

The wax is hot. The tunes are massive. Oath’s sub-label, Last Year at Marienbad, dispenses a foursome of punchy house tracks for its fifth release, lovingly crafted by some of the genre’s finest producers.

‘The Way We Flow’ by Sam Paradise pairs detuned, lo-fi samples with thumping kicks, and muffled drums. Just when those innocent lo-fi elements simmer, the drums slam back into your periphery harder than ever, making for an absolute dancefloor smasher.

‘De Nuit (3 A.M)’ by Nu-Cleo descends deeper. Swinging drums and chocolatey, indulgent keys lay the basis for a hypnotic acid bassline. Real tension builder.

Flipping over to the B-Side – careful, it’s hot – is ‘She Wrote’ by Gloved Hands. Seemingly just a ride through a well-made bouncing synth and house groove combo at first, this track soon shows off Gloved Hands’ knack for leftfield flavours. There’s an unexpected trap-esque vocal that gets re-contextualised for the club alongside piercing synths and a bulging broken beat.

‘Hard Deep’ by Rick Wade is an obvious one. The stalwart of the house scene serves up another of his zesty, masterful grooves. Shimmering, effortless keys steer a tight drum groove while a subtle bassline nestles between the kick’s low end.

Four cuts from four house experts. Is there much more a dancefloor could ask for?

IZIPHO SOUL are thrilled to announce the 7” release of the Modern Gospel Soul Banger JESUS MAKES ME HAPPY by RICHARD HARTLEY & SOUL RESURRECTION - Presented on vinyl is ‘The Joyful Exaltation
Edit’, this excludes the rap from the original version.
On the flip side, HEART AND SOUL, a ballad of epic proportions that builds and builds with the finale possessing some of the most gut wrenching vocals you are ever likely to hear. Richard states towards the end that ‘I should be fading
right now’, but finds the strength to come back one more time!

These tracks are taken from the album Face II Face from 2007, the CD is virtually invisible - Discogs history reveals no sales.

Richard Hartley has had a prolific career as a singer and musical director, travelling across the world to work with choirs and musical icons such as Aretha Franklin and Diana Ross. He is pastor
at Haven International Ministries, New York and star of his own reality television show ‘The Rev’.

It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

What is a dream computer? With the right input we can compute our dreams, this means that you are a dream computer and so are we and if you have the chance to create your dreams, don't hesitate, you might surprise yourself.

2024 Repress

What if Kraftwerk's "Computer World" had a more dystopian message? Then you would get this album: "Control Paradox" by T/Error. This double 12 inch vinyl is filled with Kraftworkian moments, but is more updated to our current times. Today computers, smart phones, AI and algorithms have taken over our daily lives. This release features 9 original tunes and 3 remixes by none other than: Cygnol, Lloyd Stellar and Heinrich Dressel. The track "Cheerleaders Are Eating Flesh" is a homage to the legendary maestro I-F and his cult hit: "Space Invaders Are Smoking Grass".

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Jordon Alexander (pen name Mall Grab) brilliantly carved out his very own niche in dance music. Influenced by hardcore punk skateboarding and high fashion (Linea Rossa!) in equal parts the young Australian delivers precise studies in house and techno. As entertaining as they are excitatory there hasn’t been a bump on his road so far. Alexander’s debut for Running Back proves this point. How The Dogs Chill Vol.2 delivers four high octane tracks whose DNA contains traces of deep house and a penchant for atmospheric and dulcet melodies. But they are also muscle-bound soaring and cater to the aptitude of shaking legs. Written in 2022 while he was around the flora and fauna of Australia these tracks are also supposed to sound somewhat botanical – or at least evoke the sensory experience of a visit to a greenhouse. Carefully sequenced and crafted one is left with an appetite as soon as the playtime is over. Proper nutriment for party people and serious music pendants alike.

NOAR is a young collective of enthusiasts in electronic music from Dresden.

The aim is to bring locals from dresden and eastern germany on the screen of like minded people. The scene is bursting with talents and audiophiles of several generations and therefore we want to give these talents a platform and make their output accessible to like-minded people.

‘Clone Scratch’ by Friedrich Ernst comes with a distinct electro vibe for build ups in a club and vocals in dreamy watery manner reminds us what’s up to us.

‘locknr01’ by The Isolator gives us a cold industrial goosebumps. A whole factory is under pressure performing that straight electro tune while heavy strings foreshadow its collapse. Here and there screws turn out of the steel beams, soft like bubbles. You have to take cover to avoid being shot.

A3 by Anachronism follows straight up. ‘Lost Control by Distance’ shows us what unconsciousness feels like. In this breakbeat thunderstorm we are sitting in a crashing airplane not quite ready for what's coming next.

With ‘Establishment’ the thunderstorm lightens and suddenly soft sunrays from Planetary Secrets come through the cloud cover. You are dreaming with soft melodies warming up your face while your body is moving to uk influenced breakbeat.

The duo KAWA KAWA is making their release debut with B2. This track clearly serves you on peak times with lovely and rough vocals while its energy easily lets you understand what a desire means.

The EP is finished with a fast electro belter from Otis Key. With it’s minimalistic approach
‘Copy Natural Processes at the Nanoscale’ lets you dive into the grid of existence with your electron microscope. From time to time you can see light coming from underneath with cold strings layered between the rhythm.
Dude what if...Is it… the matrix?

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

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

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

Chicago house artists don't come much bigger or more accomplished than Boo Williams. The man has a famous signature sound that is full of party but never short on class. His chunky drums are always the foundational element and they come embellished with superb synth work. This new EP on Pariter finds him lean into tech with the loopy acid squelches of '303 Effect' keeping you in suspense, 'Acid Smoke' layering soft 303 lines into a punchy deep house cut and then comes the EP highlight, 'Extension Time'. It's a zoned-out roller with tender piano chords turning you inwards for deep reflection as the rubbery drums keep things moving.

Voted DJ Mag’s Underground Hero in 2022, DJ & producer Lauren Flax has been a fixture in Brooklyn’s electronic scene for two decades. On her latest project Liz & Lauren EP, she teams up with Liz Wight of shoegaze techno duo Pale Blue, whose sultry vocals explore questions of love and isolation to the tune of Detroit house and acidic techno.

Flax and Wight became fast friends in 2021 after being introduced by Pale Blue member & 2MR co-founder Mike Simonetti, who’d enlisted Flax to remix Pale Blue’s “Breathe.” Naturally, when Flax needed a vocalist for some tracks she was working on shortly after, she knew just who to call. “I was in my last year of grad school doing an internship in community mental health helping kids cope with the trauma of the pandemic,” Wight says of the time. She channelled this experience as she wrote and recorded the lyrics to Liz & Lauren EP from her home in Los Angeles.

As a result, the lyrics on Liz & Lauren EP are open-ended musings on connection, isolation, and convention. Lead single “Fix Everything” can be read both as an indictment of the trappings of marriage or, on Flax’s view, a rousing call to action, applicable to issues ranging from the degradation of the environment to the attack on LGBTQ+ rights in America. As the EP progresses, Wight’s airy vocals consider the pitfalls of love, from the destructive power of infatuation to the pain of outgrowing a relationship.

Sonically, Liz & Lauren EP feels like a natural progression from Flax’s first release on 2MR, 2021’s Out Of Reality, which saw her exploring a more minimalist production style for the first time in her work. “I Don’t Want To Hurt You” and “Fix Everything” pulse with bright, dynamic production, while slow burner “Return To Love” takes a sparser approach, anchored by a muted drumbeat and a simple, earworm synth refrain. “I’d Risk It All To Be With You” is a masterful balance of both; it even gets the club treatment on the EP’s closing remix, courtesy of Flax’s friends Mark Archer and Simon Neale (Shadow Child) of MASC.

Liz & Lauren EP is an impassioned collection that showcases both Flax and Wight’s artistry in equal measure. For both artists, it’s a testament to stepping outside the norm (DJing for Flax, performing in Pale Blue for Wight) and collaborating with others, the fruits of which are sure to be felt on the dancefloor for years to come.

Mr Projectile, one of our favorite IDM producers from back in the day, has given La Luna the chance to share some of his unreleased IDM tracks from the early 2000’s. The album is an eclectic blend of ambient, IDM and experimental electronics.

These sounds are a time machine to simpler, less chaotic times and have become essential listening these days. We envision this album spinning on a sunny Sunday afternoon, filling your room with the delicate and deep textures of electronic music and soothing your uncertainty. Enjoy a nice cup of coffee and explore your thoughts as you speed through time and space. Hopefully serving as a special reminder that we are all in this madness together.

Not only is the music stellar, but we are honoured to have Marcello Raeli, an Italian artist and car designer, accompany the music with his wonderfully mind bending artwork. Marcello is an artist who has designed some of the most insanely beautiful/fast cars on the planet. Here we get to take a deep look into his mind and marvel at the incredible interconnectedness created in this piece and appreciate the sense of depth and space created for this album.

Elic, aka Giorgio Di Natale, is a DJ and producer from Bari, Puglia (Italy). He was initiated into electronic music at a young age, when he began attending clubs in the area and working as a PR. Soon after, he discovered, while frequenting the most transgressive Florentine clubs and the Adriatic Riviera, a passion for house music and everything that runs around the world of clubbing.The uncontrollable desire and instinct to listen and buy records to share with friends and people, led him to take up DJing in 1999. With the huge background behind him and the various styles that contaminated him, he decided to let this flow into productions as well, and it was not until 2021 that he entered the world of music production.Thus was born Elic and his label HELICAL. "Retourism" is the label's first EP and collects three tracks ranging from electronic to techno and minimal.

A journey through hypnotic atmospheres, but with an eye always on the dancefloor.

10 Years Pressure Traxx. 10 Years of genre defining tracks like Suciu – Dusintors, instant classics like Ricardo Villalobos – Wispa or Dj Sneak – 3d Print. Forgotten gems like Nail – Sentipede or Transparent Sound – Punk MF. Now we celebrate 10 years of Pressure Traxx with a big compilation.

The 4 x vinyl box will be released in September and we are looking forward to share it with you.