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Avop + Star Creature feels, sounds & tastes like a match made in heaven. Not quite house, disco or boogie, just synthy drum-programmed funk. Avop taps vocalist Sykes here for 2 original collabs plus instrumentals & remixes from elusive underground producers of heat, Pool BOY & Cyril Hahn.

St Petersberg's Dobro label is noted not just for the quality and playability of its funky house and disco re-edits, but also for its value for money. This, their seventh release, is another great example, with no less than six floorfillers included on one 12", each bringing their own individual mood to the table. 'Flowers Festival' from Sun Rhythms has throbbing organs and fruity keys, topped off by a gorgeous Russian vocal. DJ Merci's 'Timetable' goes for chunky rave pianos and Fairlight stabs, lending it an 80s Italo-disco feel, before Ground Plane Aerial's 'Transition SP' closes the side with slap bass and stripped down house vibe that echoes some of Roule Records' more accessible moments. Side two VIGI's 'I Am You', is the most memorable of the whole package, with its idiosyncratic female vocal weaving a magical spell around the listener, before we finish off with a double whammy of Monny Me's swirling stringfest 'The Name Of The Game' and the parping horns and strutting groove of Ugly Frankie's 'Free Alcohol Shit', the latter including a bewitching and unexpected piano solo. Great work all round.

UK talent ADMNTi makes his Fuse debut and opens the label’s 2024 schedule with ‘Vibrations’, featuring a remix from Vigenere boss Malin Genie. Whether serving up his take on minimal-leaning house across a wealth of the capital’s key venues, or front-left on the dancefloor himself, London’s ADMNTi has been shaping a sound and curating his ear for years to become one of the city’s most well respected emerging tastemakers. A regular at Fuse over the years, with his sound palette harnessing his roots within the city, his releases on Dansu Discs, Beeyou Records and Caposile Music have seen him rack up love from the likes of Petre Inspirescu, Raresh and Voigtmann alongside mentor Enzo Siragusa. And it’s Siragusa who now welcomes him to his iconic Fuse imprint for the very first time as he makes his longawaited label debut to open the 2024 schedule with four originals across his ‘Vibrations’ EP - with Mandar favourite Malin Genie also joining the package on remix duties. Skippy and armed with a menacing bassline at its core, ‘Vibrations’ brings the heat from the off as slinking percussion warps around hazy pads for a lively opener, while ‘Infinite Function’ brings a paired-back and tumbling groove full of squelchy interludes, bright electronics, resonant organ melodies and subtle chords. On the flip, B1 ‘Original Sin’ is a spacey and cosmic trip into acid-tinged soundscapes, before Malin Genie’s remix of the title cut brings a funk-fuelled and deep dive into the early morning hours as he crafts a slinking groove that captures the imagination instantly.

Lovers of fabulously swung, nice ‘n chunky house music have a treat in store on Hudd Traxx 066 as Swiss producer Agnès makes a very welcome, vinyl only return to our label.

Much-loved for his stripped back and dubby style - with previous EP “Got That Music In My Mind” championed by Disclosure on their Mixmag mix - here we witness the Sthlmaudio Recordings founder loosening up with four shoulder-rolling rides of deep house greatness which commemorates his and Eddie Leader’s tour of South America in 2013/14.

It’s the first new material we’ve heard from the producer since his 2016 EP “Accent Grave” and the track “Embryonic Connections” off our 15th year anniversary collection released early in the year.

Effortless in construction, with the genre’s classic tropes of poking organs, sub-tickling bass, rich atmospheres and cheeky, playful vocal samples littered throughout; the EP’s real beauty comes across in Agnès’ unfathomable grasp of swing and shuffle, instantly injecting listeners with a fidgety energy and need to dance. His percussion sounds fizz, pop and crack in a manner that’d make Kerri Chandler blush while neon-hued pads glue the whole thing together with a radioactive warmth. Chuck in an almost shamanic level of dancefloor understanding & connectivity and what you have here is a breakthrough dose of unrivalled hedonism.

There’s a sophisticated simplicity and sympathy at work here; with a reduced, hard-hitting and well thought out sound palette connecting the tracks together with the same impassioned spirit. That fiery flame of a basement and a red light, encapsulated perfectly and destined to rouse the spirits of house heads across world this Autumn.

Syncrophone Presents the Very First Vinyl Release From Aleqs Notal’s Label: Industrial Light. This Premiere Sees Notal Partnering Up With Long Time Friend andFellow ProducerModern House Quintet. Throughout Four Tracks &Ndash; Two From Each Musician &Ndash; This Release Dives Into Several Sub-Genres of Electronic Musicand Provides Four Compelling Songs. on theA1 Side,Message From the POpens Up the Record With a Classical Notal’s Signature Sounds: Ron-Trent-Ish Pad and Organ Samples, Supported by Additional Snares and Several Lines of Hi-Hats. This Delicate House Track, With Its Acid Line Chord Core Is Perfect to Open Up a Set. A2Drinking WorkersSees Notal Weave HisHi-Hats Patterns Around a Typical Detroit-House Bass Line. Architected and Thought Like Scratches (Due to His Hip-Hop Background), Hi-Hats Set the Toneand Enhance the Track as a Back-and-Forth Game With the Bass, Contributing to theOverall Depthof the Song. Once Again, Notal Shows His Creativity About Blending Different Sub-Genres Into a Single Track. on the Flip Side, Modern House Quintet Presents Two Very Different Tracks (Although Both Are Clearly Made for the Floors).B1NadrezacalenisAssociates Several Layers of Shakers and Subtle Hi-Hats &Ndash; Combined With Percussion &Ndash; in Order to Emphasize the Lush Rhodes Chords And, Later, the Entrancing Vibraphone Notes. Last but Not Least,B2DioskouronIs Clearly a Track for a Peak Time Moment. With Its Detroit-Techno Atmosphere, Its Tr-909 Drums Pattern, Its Textures (The Discreet, Yet There, Pad) and Its Pace, DJs Can Rely on This Great Addition for an Ideal 3 Am Set to See Heads Nod and Bodies Swing. as for All the Previous I.l Releases, Artwork Is Made by Jn/wl. ...

Rising star Amy Dabbs delivers us another huge house EP, dropping as the debut release on her brand new label Dabbs Traxx. The modern take on classic house that she's become renowned for in her recent highly acclaimed releases permeates every track on Four Track Mind EP, serving up Amy's trademark pacey rhythmic percussion, emotive melodies, and fat subby basslines. Ghosts kicks things off with ticking clocks and haunting melodies woven throughout, creating a deeply atmospheric track. It surrounds you with thick layers of pads and strings, underpinned with tear-jerking chords and vocals, sprinkled with touches of Amy’s beloved Juno 106. This track relays a moving tale of facing the ghosts of your past which, alongside Ghosts’ powerful percussive drops, is guaranteed to give the dancefloor goosebumps in more ways than one. Til You See takes us in an uplifting direction, with a powerful bassline blazing against a backdrop of soaring pads and delicately placed arpeggiators, leading towards a spine-tingling yet subtle vocal as the track reaches its peak. Bringing Amy's desire to create music that moves you to life, this stunning track is brimming with jubilance and optimism from beginning to end. Last but by no means least comes the EP's title track, Four Track Mind, its nostalgic organ sounds, bouncy percussive chops and big basslines ensuring it will be a huge dancefloor moment when played out. This energetic track takes you into the heavens with its relentlessly uplifting transitions throughout, Amy's intention clearly to place you firmly in the centre of the dancefloor with a massive smile on your face. Having recently been named as one of BBC Radio 1's Future Stars 2022, and with a string of solo EPs coming out over the next 6 months, it's quickly becoming clear that Amy Dabbs is going to be a name we'll be hearing a lot more of this year.

CHIWAX welcomes Andre Red Hand to the Family!
Dubbed by Igloo Magazine as the “Romanian Detroit electro/techno pioneer” and by the late Aaron Carl as “the Romanian Underground Resistance himself”, Andrew Red Hand from Romania’s spiritual capital of lasi stands up as an unwavering militant of the underground, a true Detroit spirit possessed as Romanian humanoid!
From his early gigs throwing parties as one of the first generation DJs in lasi since 1997, ARH continues to break boundaries as part of the Romanian resistance scene and numerous time portals as they open around Europe. His blistering, mind-bending sets such as at Berlin’s Tresor and Griessmuehle see the DJ with the red hand fuse pure Detroit electro and techno with the sounds of techno-bass, raw Chicago acid house, classics and futuristic beats. His mixes for Radio UR (Underground Resistance) and The Grid (Detroit Techno Militia) remain some of the best frequency transmissions to surface to air.
Armed with a Soviet Union reel to reel Majak 203, his scorching raw analogue and searing acid productions have been picked up by foundational Detroit labels such as Twilight 76, Matrix, Detroit Underground, Databass, Detroit Techno Militia, Cratesavers Intl, Visillusion as well as around the world from Holland's iconic M>O>S Recordings to 1Ø Pills Mate (Lobster Theremin), Bass Agenda and Land Of Dance. On his remix list includes work for Scan 7, Santonio Echois, Thomas Barnett, Sean Deason, Niko Marks, Six Foe, T.Linder and more while support from Anthony Shake Shakir, DJ Bone, Dave Clarke, DJ Godfather has been garnered for our sonic warrior… Beware of the Red Hand!

Established in 2016, Little Giant Records is the Brooklyn-born label founded by Anna Cavazos that specializes in the kind of deep house sounds that belong in the dark and sweaty basements of underground clubs. Anna is a DJ, producer, and vocalist who has played out across the globe for over 15 years mixing and blending the deep house sounds of Chicago, New York, and Berlin. . Her discography includes original compositions, remixes, and collaborations with the likes of Satoshi Tomiie and Eli Escobar. The EP kicks off with the original of ‘Love Interlude’ - melancholic and piano-heavy with an ultra-deep baseline embellished with warm pads and soulful drums. Anna’s soulful vocal floats above the melody creating an emotional and moving interlude. Next up Matthias Vogt delivers a deep-house masterpiece adding extra keys, drum accents, and a well-placed baseline that is weaved neatly into the vocal hook while Vogt delivers the warm, jazz-flecked vibrations he is well known for. Up next Rick Wade weighs in with some ever so classy house laced with flashes from the Motor City of Detroit. Warm electro piano, glowing synths, and vocal parts contrast with the deep sub baseline. Closing out this EP Rissa Garcia draws heavily on her New York house inspirations. Organ riffs and a funk-inspired bass line lead the charge dropping in and out between vocal harmonies and subtle synth work. Percussive accents bring it all home making this closing cut one dancefloor destroying, peak-time bomb.

Allnite Music boss Apoena returns with the label's second essential release in a mere matter of weeks. Four slices of exceptionally cool house music, from 'Soul People' with its chuntering organs and inspirational rabble rousing sampled from Martin Luther King to 'Meditation' with its cowbell-enhanced groove and oozing, soulful vocals. The serene glide and billowing synths of 'Jus Dance' and the meditational hypnotism of 'Shapeshifters' complete the package, all going to make one neat selection of tasteful, addictive cuts.

It's number six for Tessellate and this time they're shining the spotlight on France's Xavier Dusclaux AKA Armless Kid. After a number impressive outings on the likes of Rekids, Let's Play House and Traxx Underground, Xavier turns to the London based label with three original tracks plus a remix of the A1.
The title track, Drop Down (Club Edit), eases in with broken beats and a gentle bassline before eventually building into a euphoric, 5am acid banger. Opal Sunn, who are regulars on Nick Höppner's Touch From A Distance, have dialled up the 303 from the orignal to give it a whole different energy. Flip the record over and we have two tracks aimed straight at the club. Category, which features MJOG (Daydream/Recordeep), combines shuffling percussion over wiggling basslines. The final track mixes shivvering pads, punchy organs and skippy drums over a wonky sub. It's called Les Bo Jours (Wonky Funky).

Returning to Damian Lazarus’ renowned label for their seventh EP on the label, the Gruuv bosses showcase the latest evolution of their rich and diverse sound, with the dancefloor-driven quartet of hot cuts!

From their early beginnings between Ibiza and their hometown of Leeds to a near twenty-year-long career that has taken them from Space (Ibiza) to Womb (Tokyo), fabric (London) to Zouk (Singapore), UK duo Audiojack have remained and continue to prove themselves as both ever-present dancefloor hit makers, but artists that have helped carry the UK’s evolving house sound. From their initial releases on Leftroom and 2020vision through to their Crosstown Rebels debut in 2016, and then fast-forwarding to recent music on Solid Grooves, Knee Deep In Sound and their own Gruuv imprint, the pair’s unwavering passion for fresh sounds continues to burn bright. Now regulars on Damian Lazarus’ iconic imprint, serving up five EPs, numerous remixes, and their 2021 album ‘Surface Tension’ on the label to date, the end of May welcomes the duo’s latest chapter on Crosstown with their latest EP, ‘Play With My Mind’.

The skippy and vibrant ‘Play With My Mind’ opens the package with an abundance of nostalgia, channelling 90s sonics via the infectious organ melody and hooky vocals at its core, while ‘Casual Verve’ is trippy and loose while delivering a slice of driving funk to the mix. Next, ‘Connect’ provides a vocal-led, garage-dipped cut that keeps the energy levels sizzling before ‘Delirium’ closes the show with a swathe of pure dancefloor ecstasy.

Propulsive tabla percussion and meditative drones collide in deep instrumental conversation on Shruti Dances, the debut collaborative album between UK heavyweights Auntie Flo and Sarathy Korwar, forthcoming on the newly relaunched, Make Music imprint. Across six exchanges of dynamic electronic production and richly layered Indian classical percussion, Shruti Dances discovers two architects of rhythm and movement on an explorative journey through South Asian tonality and diasporic identity.

One an elemental force on drums, the other on the decks, London-based, Indian-raised drummer/composer, Sarathy Korwar and Scottish-Goan producer/DJ, Auntie Flo first connected back in 2019, unaware both were navigating opposite ends of the beat equilibrium. Where Auntie Flo (aka Brian D’Souza) was new to Korwar’s reimagining of jazz, Indian classical music, electronics and spoken word, Korwar was already a big admirer of Auntie Flo’s intl-facing club output, having first discovered D’Souza’s Rainfall On Red Earth off his Soniferous Garden 12” and 2019 SAY award-winning (Scottish Album of The Year), Radio Highlife. Once properly acquainted, Korwar invited Auntie Flo to remix a track off his landmark 2019 album, More Arriving, described by The Guardian as “a stylistic leap from jazz to hip-hop to spoken word…a protest record encompassing the breadth of immigrant experiences”. The seeds of an unlikely yet powerful musical bond had been sown and when mutual friend, co-founder of Mixcloud, and Make Music label organiser, Nikhil Shah, asked the duo to inaugurate the label’s new live/electronic direction (previously home to Leon Vynehall, U and George Fitzgerald), Korwar and D’Souza hit the studio. Expanding on early conversations around traditional Indian instrumentation, practicing meditation and improvisation, Shruti Dances (a riff on free dance movement, Ecstatic Dance) was born. Meaning 'that which is heard' in Sanskrit, shruti refers to a note in musical terms, but in this case also references the album’s most prominent influence and instrument, the shruti box. “The shruti box formed the basis of the sound of the project. It’s a drone instrument, similar to a harmonium, and it makes an amazing sound. I’ve spent the last two years studying sound therapy, and immersing myself in ambient and drone through the Ambient Flo project, and am particularly interested in how they can induce meditative states of consciousness. I was really excited to hear what the Shruti box could do with this EP.” Auntie Flo Across six tracks, (each named after 6 of the 7 main musical notes in the Indian solfege system), Shruti Dances draws on a celestial mix of traditional percussion and processed digital effects. On opening track Dha, Korwar’s sparse tabla rhythms hop across D’Souza’s scattered, arpeggiated synths, where as on Pa, a Balearic shuffle channels Moroccan Gnawa music and Senegalese sabar meets Mark Ernestus’s Ndagga Rhythm Force. Harmonic speed tabla and roaming drones provide a sense of the ethereal and fourth-worldly on Ma, a track that’s resplendent, curious atmosphere would fit snug into the deep listening-focused programming of Auntie Flo’s Ambient Flo online radio station, a curatorial platform and avenue exploring his interest/promotion of mental health, launched over the UK’s first lockdown. Ni sees Korwar pick up the sticks, thrashing toms in a spirited frenzy, whilst downtempo album closer Sa offers some room for reflection, its slow, swirling chords cloud our focus, leaving us with all but the distant sound of birdsong.

Avnu (uk) follows up his fantastic recent single on Ellum Audio with a long-awaited and hugely adventurous new album, ‘Tough To Love But Worth The Effort’. Avnu (uk) is based on the East Coast of Scotland and has been deeply immersed in music for twenty plus years. He has a love of everything from rock, soul and blues to disco, electro, techno, trance and rave. All of that comes out in his innovative sounds, which range from sweat-inducing club tracks to hooky and feel-good grooves. This album finds him working his magic across 15 tracks that bring plenty of fresh perspective to house, electro, synth, techno and pop. They add up to a storytelling record filled with left turns and tracks that work in a range of different contexts. 'Surprise!' opens with a glossy electro beat and shimmering 80s synths that set the tone for the whole record. 'I Love You' brings a French touch influence with plenty of filtered synth loops and crisp drums under a soulful vocal, then 'Supaflake' cuts loose on an old-school funk vibe with nods to early Daft Punk. This most colourful of records plays out through the likes of sombre cosmic techno offering 'Bad Karma,' the longing chords and heavy-hearted electronica of 'Odyssey Jam' feat Mariel Ito and distorted bass of 'Phlegm In The Street' which comes with laser-like synths and menacing vocals. The future styles continue on 'Yo E, Check This Out' which collides jungle breakbeats with brain-melting sine waves, while 'Wilkie' is a moment to catch your breath amongst bright and shiny synths and deeper drums that suspend you in a celestial sky. 'Proud You’re Mine' is a perfect electro-dance-pop gem that has potential to be a summer festival anthem and the title track closes down with six minutes of enchanting and mystical synth lines and hypnotic drums. ‘Tough To Love But Worth The Effort’ is a spectacularly broad and accomplished album that lives in a world of its own.

A label synonymous with a distinct flavour of house sweeping Italy in the ‘90s, the prolific Palmares Records discography is a gold mine of goodness from sun-kissed, italo house cuts to rave-channelling raucousness. Axe Corner’s 'Tortuga' four tracker is one such example of that latter direction and with originals trading hands for up to £150 it's high time a remastered, reissue landed. A classic of the era, balancing breakbeat-laced, rave and hardcore sensibilities with a deft Italian flair. Four tracks produced by a quartet of some of the most masterful minds of the Italo house sound Alex Neri, Marco Baroni, Adriano Dodici and Pietro Pieretti. ‘out-sld’ opens, a warehouse wall shaker, with twisted top lines and a hardcore infused underbelly. ‘in-sld’ turns it into a fever pitch, acid-laden warper – atmospheric organs and all. On the flip ‘bad-sld’ has more of the Riviera feel to it, classic keys drenching this in warmer rays, as ‘sld-effects’ takes the closing spot - a stripped back, driving groover.

B-tracks, the duo of Soren Jahan and John Barera, return with their first release together in many years. Unfolding across these six tunes is an extended EP of hard rocking, raw and rough house trax in the immutable b-tracks style – with no weak links. This loop digging, spliff making, track building duo have always been trying to channel the vibe of “real” and “proper” house and techno. B-Tracks are known for very successful and out of print club bombs like ìSpecializeî and ìCome Backî – as well as many headier and more techno oriented tracks. Here, they make their much welcome return to producing together.

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

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

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

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

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

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

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

Matt Annis

Locus launches VA series ‘Locus Trax’, with the first volume welcoming Stephan Bazbaz, Julian Anthony, Sucasa and Ben Jones. Since launching in summer 2020, FUSE’s sister imprint Locus has quickly become a go-to outlet for quality house material from emerging and established talent, welcoming releases from Chris Stussy, Sidney Charles, Lauren Lo Sung, Rossi. and Casey Spillman amongst many. A new addition for 2022, the imprint now unveils its various artist series Locus Trax, with Volume 1 welcoming the return of Tel Aviv’s Stephan Bazbaz, alongside label debuts from bubbling Dutchman Julian Anthony, London-based pairing Sucasa and Liverpool’s Ben Jones. Stephan Bazbaz’s ‘Dars’ showcases a lively effort as swinging drums work beneath resonant chords and meandering basslines, while Julian Anthony lays the focus on cosmic pads, vibrant organ bass and shuffling percussion across ‘It’s Showtime’. On the flip, Sucasa dive into deeper spheres with the blissful yet impactful sonics of ‘Time Travel’, before handing over to Ben Jones for the peppy sounds and slinking grooves of ‘Get To Know’.

After Lowtec, Alex Cortex, STL and iridescence; Swedish label ‘blundar' presents Benjamin Brunn 11th solo album, 20 years after his debut. BLUNDAR7 comes as a 10 tracks / 38 minutes long-player, coloured cover on a 180g black vinyl. Artwork by ‘mutantexture’
Brunn wrote and produced all tracks between 2017 and 2018; In contrast to most releases that were limited to one or two synthesisers, this time a whole array of instruments was used: tELHARMONIC, Music Thing Modular Chord Organ, Doepfer A-111-3V Precision VCO, 4ms STS, Yamaha DX7, Clavia Nord Modular G1 & G2. The long-player comes after a collaborative album with Dave Wheels out on Sushitech early this year, and will be followed by one together with Move D, via Smallville in 2020.

Under 1 House Is The Blazing New Mixtape From Blue Hawaii - A Six Track Tour-De-Force Showcasing The Duo's Trademark Blend Of Liquid Beats, Dance-Floor Euphoria, And Soaring Diva-Vocals.Under 1 House Was Written During Blue Hawaii's 2019 North American And European Tours, And Recorded At A Wood Cabin In Rural Quebec. Finding Each Other Trapped On Different Sides Of The Atlantic, The Record Was Then Finished Over Long-Distance Between Montreal And Berlin Due To Covid-19 Travel Restrictions. This Music Is Dedicated To The Spirit Of Togetherness. Unity Achieved Through Confidence, In The Seductive Redemption Of One's Own Sexuality, Finding Power In Feelin' One's Self. Under 1 House Honours The Magnetism Of Impulse And First Takes. This Flow Can Be Found In The Brooding, Early Warp Records Reminiscent "Where Are The Keys???", The Sub-Heavy, Lustful Organ Groove Of "Feelin'", The Lo-Fi High Energy "I Felt Love" Or The Chanting Of "I'm My Own Damn Woman" During The Screeched Ending Of "Not My Boss!". Blue Hawaii Have Been Around For A Decade, Having Released 3 Full Length Albums And Two Eps To Date. Consisting Of Ra And Ag, The Duo Met Throwing Parties And Shows In Montreal And Continue To Create Together Despite Living In Separate Cities - Split Between Montreal And Berlin.

Boston born, Medellin based producer Bosq once again collaborates with the mighty Kaleta on his own Bacalao imprint. The perfect blend of modern production sensibilities and classic musicianship & soul. Having first worked together in 2013 on Bosq’s first original single Dem Know, they have strung together an impressive run of hits since. Kaleta brings an incredible history to the project, being born in Port Novo, Benin, and raised in Nigeria, he was steeped in the world altering West African musical movements of Voodoo Funk & Afrobeat from their inception. Bosq himself has written and produced five full albums and countless singles and remixes, maintaining a consistent and recognizable fingerprint while fusing influences as varied as Funk & Disco, Salsa & Cumbia, Afrobeat & Jazz, even Hip Hop & Dancehall. ‘Meji Meji’ straddles the line between Afro Funk & Disco, with bubbling organ and Rhodes stabs, a massive horn section, layered percussion & vocals, and chants from ex-Egypt 80 member Kaleta. One of the biggest names in dance music, Folamour joins the fold pushing the underlying house groove to the forefront, creating a perfect dance floor version with a pulsing kick, deep bass line, and funky synth horn lines that dialogue back and forth with the live horn section. Dance floor tested and approved! Also included is the B-side ‘Sonayon’, a pure afro disco scorcher in which Kaleta sings a message of hope in his native Goun language.

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan. The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... Until now. Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement. “A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. He and Gil from way back to my early years in the Bronx, through to my DJing and producing career into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next in the horizon with us and the one & only Brian Jackson.” Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! What Louie, along with Two Soul Fusion partner Josh Milan and I do are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

Mami Wata - A Captivating Journey through West African Rhythms Experience the mesmerizing fusion of traditional African sounds and modern Latin house in Brian Jackson's latest single package, "Mami Wata." Drawing inspiration from the depths of West African mythology, this track takes you on a captivating sonic adventure that spans vast regions of the continent. Brian Jackson's rendition of a traditional African song resonates with the richness and abundance symbolized by the mythical figure of Mami Wata. From the sacred lands of the Dogon in Mali to the vibrant rhythms of Ghana, and even reaching into the heart of Central and Southern Africa, this composition pays homage to the diverse tapestry of African cultures. To further elevate this masterpiece, Brian has collaborated with the masterful Joe Claussell, who lends his expert touch to craft a remix that intertwines a modern Latin house thread with the African fabric of the original composition. The result is the Sacred Arts Mix, a true testament to the power of music as it effortlessly merges genres and weaves an enchanting spell over the dancefloor. This single package boasts not just one, but six distinct versions of "Mami Wata," each carefully crafted with its own unique tempo and subtle seasoning. Whether you prefer the rhythmic intensity of the Sacred Rhythm version, the deep dub vibes of the Deep Dub edition, or the extended album version that allows you to fully immerse yourself in the magic of the composition, this release offers a diverse range of musical experiences. The remix package brings to life Brian’s immersive vocals, flute, kalimba, and organ playing. And for those seeking a slower, introspective groove, the Cosmic Arts Future Instrumental Slow version provides a celestial atmosphere that will make you feel as though you're floating among the stars.

“I can remember literally bolting across a busy warehouse party in the early 90’s (I think it was actually DIY in Gloucester?) afterhearing a record come on which immediately stood out to me, hadn’t heard it before…. A clear 303 single note bassline/hook with sublime strings and undeniable flavours of Detroit and Chicago in the drums and vibe. I needed to know what it was!!That record was “Northern Lights” by Caucasian Boy (aka Crispin J Glover and David Jenkins, AKA DJ Shakra), and I have honestly been playing it ever since. Fast forward 28 years, and here we are releasing their new acid house monster, the Remote Control EP”Justin Harris Remote Control immediately puts youback in the warehouse or one of those dark, sweaty basement parties which have shaped manymusical educationsover the decades, you know, when things are just starting to get really involved! Beginning with a relentless 90’s feel and withmore thana nod to early 90’s Belgian Techno, Remote Control steers you through a perfect six and a half minutes of heads down warehouse acid groove, all culminating in a kick-ass gorgeous breakdown. And then there’s Dystopia.A deep, dark 909 driven cut of excellence. You can hear in every bar that the purveyors of this track have a deep experience of and are driven to write for the dance floor. Once again, making perfect use of 303, 909 and 808 (amongst others) Dystopia pullsno punches and shamelessly leads you right into the middle of that sweaty dancefloor, and it’s perfectly executed deliverykeeps you right there.

Caustic 14 six shooter full of speedy bleep science breakbeat and colourful jungle techno compositions that could only be made in BRUXHELL (aka Brussels). The selection is a patchwork of various unreleased works from around 1993 to 1996.

Flavien Berger, Fort Romeau, Inigo Vontier, Marc Houle. Endless Revisions- Chloe's first LP in over six years - saw the musician turn a new leaf in her creative journey. Not content with pushing the boundaries of her creative output with this wider palette of an album, Chloé released Endless Revisions Live, which saw the producer graft the new material and inspiration that came out while playing live on stage back onto the album’s compositions. Following The Dawn and Recall, it was time to deliver other versions of the album’s tracks. Enter this four-remix EP, imprinted with the almost-opposite horizons of top-shelf producers.

Kerri Chandler’s Kaoz Theory welcomes Amsterdam’s Chris Stussy onto its roster with the ‘A Glimmer Of Hope’ EP. Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past five years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint. Here though he delivers his new four-tracker for Kaoz Theory. Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums. ‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.

Cinthie Christl is a powerhouse of a DJ, producer, label manager, record store owner and all-round house music aficionado. Shall Not Fade is excited to announce Cinthie is joining the family to mark the 60th release on the label. Free Fall EP shows off the German polymath's expansive musical knowledge, developed through decades of spinning vinyl.

The 4-tracker kicks off with "Offenbach Anthem" bounces along with a varied post-disco inspired beat and oh-so-deep bassline that strikes against the aerated chords of the melody. Dramatic strings add to the disco flavour, the fluid and glittery opener cruises into the tight, 4-to-the-floor business and stuttering stabs of "13 Steps To Heaven".

Rave energy takes over on "Oh No No No"; organ takes centre stage blending with crooning diva vocalisations - releasing the tension of the last track into an overflow of euphoria. "What You Mean To Me" closes the EP with a slice of the super-smooth classic house that Cinthie is known for; infectious grooves and perfect lulls forming a triumphant end to the record.

Not so long ago in 2017, the first release on Michiel Claus' and Ailsa Cavers' Basic Moves saw the light of day and especially the shine of night. Produced by founding father Walrus, Bm01 set the tone for a record label that focuses on releasing hidden archives from the 90s, whilst combining them with modern club music from the here and now. By highlighting the musical heritage of the Belgian electronic music scene, the label illustrates the continuity between past and present, history and shaping identities of 21st-century artists, undeniably building on the strong foundations of their forerunners. Seven years and nineteen releases later, Basic Moves is rounding off the series with Bm20, a final double 12'' by one of the major figures from the Belgian underground: Circadian Rhythms also known as Dj Deg. After many years of collecting, deejaying and producing music, his musical spectrum ranges from synth, library and wave, to jazz, funk and disco, from house to techno. His journey started in clubs like Bocaccio (1988 - 1993), and La Gait? (1979 -1989), where young Deg came across deejay's like Olivier Pieters or Eric Beysens who made him choose the path of becoming a devoted disc jockey himself. Bm20 is a sonic witness of Deg's first musical encounters with his machines, revealing a withdrawn selection of six bedroom patchwork tracks produced between the years of '93 & '99, a time without the internet or user manuals to help you solve the riddles of technology. Though only at the very beginning of his creative process, Deg's unique personality is nevertheless already clearly identifiable: blending techno with jazz, where the sharp edges of 16-step drum-sequences are smudged and bent in different directions. In the lower countries, the second half of the 90s was a period of fast & funky, happy Detroit, 140 BPM techno. Whenever Deg was not oscillating between record shops or gigs and had a moment on his own, mostly during morning hours after the club, he would spend his leftover energy in the studio. Either by himself or with his loyal ally Mike DMA, he would benefit from these moments to slow down and give space to a different, introverted sound - processing moods, feelings and thoughts. This record therefore gathers only a few of many (unrecorded) one-shot live sessions which were never intended to be shared - and only existed for the love of music and its power to take you beyond all things known. Thank you Deg for sharing your music and giving us a glimpse of your universe. Without your productions, your memorable warm-ups and closing sets - many of us would not be where we are now, and Basic Moves might never have been founded. As a last note to a closing song, Bm20 is about being fully committed to the music and the club, a medium and place of fruitful settings for encounters, creativity and growth. Where dreams and ideas have a chance to exist, being almost ready and thought out to shape future times to come - and many party nights. Gurl, December 2023

The first Peach Discs release of 2024 comes from the Cloudsteppers dream team of Dan Only and returning label favourite Ciel. The increasingly prolific Toronto-based duo have blessed us with four tracks of floor-focused, 4x4 garage tunes drenched in their singular melodic sensibilities.

In their own words: “For our second record as Cloudsteppers, we went back into the studio with the intent of making functional garage tunes aimed at the dancefloor. Leaning into what created the distinct sound of our first record, we relied on Ciel’s Korg Esx-1 and Dan Only’s MPC 2000xl to lay down the foundations of each of these tunes. Skippy and bass-heavy, these 4 tracks are the result of our UK-leaning sonic experiments. Whether it’s the bubbling bass of Aqua Hotel, the tech-leaning grooves of Control ft. Eden Samara, the M1 organ in Duckstep, or the skippy drums of TDG, this is Cloudsteppers' twist on UKG.”

Couldn’t have said it better ourselves – hope you like the record.

"Repetition is a form of change," reads one of Brian Eno's Oblique Strategies. Seth Haley knows the concept well, and his style of technicolour synth-wave takes the mantra as a challenge. Six years after Galactic Melt introduced the cosmic story of Com Truise, Iteration now concludes his sprawling saga. True to its name, the album is built on Com Truise hallmarks: neon-streaked melodies, big drums, robotic grooves, bleary nostalgia. But Iteration is also the most elegant and streamlined that Haley's si...

Dolly is proud to welcome Parisian wunderkind Coni to the label. Operating on the brink of meditative house and (Detroit) techno, Nicolas Olier's particularly hypnotic offering will certainly stand out in any set. The title track "Caligula" is a slowly developing, climactic techno burner with icey, Imperial strings hovering over it. A2 "Electroflash" is a more warm, lush, deep-into-Sunday-afternoon bubbler with a distinct French feel, topping breezy chords with a sharp hook to give it edge. With fellow Parisian Bambounou joining Coni on the flip side, "Medusa" goes deeper into percussive territory with a pulsating bongo riddim embraced by haunting organ pads perfect for those all-lights-off moments. A beast with many heads!

1994 by French artist Continental and backed by a remix from Cosmin TRG. Amrboise Boret is a French engineer, mixer and producer located in Paris who released material under various guises from the nineties through to the early 2000’s. Here we see his Continental moniker brough back into the limelight, highlighting a selection of material from the Pushin' It Up EP on Alliance Records. Up first is ‘Flying Dub’, as the name would suggest a dub-infused excursion through gliding chord sequences, snaking bass licks and bright string sequences while swinging analogue drums dynamically evolve throughout. ‘Way U Jack’ follows, introducing a more Chicago leaning attitude rhythmically alongside low-pitched vocal murmurs, fluttering dub chords and a bumpy bass line. Title-track ‘Whispers’ follows on the b-side next, employing ethereal atmospherics, flute like synth melodies, organ bass tones and crunchy, shuffled percussion. Rounding out the EP Cosmin TRG reworks ‘Whispers’, offering a contemporary twist on the original with intricately programmed drums, subtly nuanced introductions of the originals atmospherics, winding low-end pulsations and an overall ornate, dynamic feel.

The Mannheim-based event series "Intermission" launches its record label with this 12" designed by Adrian Zorzano. Ir001 is a split EP by Cuthead (Uncanny Valley, Dresden), who also played the first Intermission night in 2017, and LSW (Intermission, Mannheim). You can expect six tracks from Disco to (Acid) House – we hope you love this music as much as we do!

After the chart-topping Keep on Swindling part 1, that included summer anthem ‘All I want’ and the live jazz rework of ‘The break up’ by Emma-Jean Thackray, Dam Swindle are now back with part 2 of their 10-year anniversary series. If you thought the first edition had the goods, you’re in for a treat with this one. Keep on Swindling part 2 includes a new afro-tinged DS original, alongside a never-released remix of an obscure Guadeloupean record and remixes by rising star of the Detroit music scene Ash Lauryn and Rush Hour favorite Arp Frique. To top things off, the boys release their afro-brass dancefloor burner ‘Call of the Wild’ feat. Jungle by Night for the first time on a single.

The EP kicks off with a new original production by DS: ‘Good woman.’ This track has Dam Swindle on their best dancefloor behavior: Powerful live drums with an electronic edge and a big smudge of soul through smart sampling. The track has the feel of a soulful drum workout, taking its warmth from the lovely organ hits played by the talented Tim Jules and lush vocals. It also has plenty of low end with its offbeat sub and heavy kick, which give this track all the beef it needs to make any dancefloor -big or small- move in ecstasy.

The next track is somewhat of a special project. Tipped in 2019 by close friend Vincent ‘Venz’ Reinders who now runs one of Amsterdam’s finest venues Radioradio, Lars and Maarten started working on a rework of the song ‘ A ka titine’ by Guadeloupean band ‘Gaoulé Mizik’. The original release was only distributed from private press in small amounts, and therefore did not reach that many people. Versions of this record are rare on Discogs and unfortunately change hands for large sums of money, which keeps the music in obscurity.

The Dam Swindle rework was first put out as a free download, but was taken offline quite soon after, when we started our path to locate the original rightsholders and get their approval. Fast forward 3 years and we’re here with an official remix of this amazing piece of music where the guys add an electronic twist to the original to bring that classic Gwo Ka music towards today’s clubs.

On the flip, we’ve got the amazing Ash Lauryn remixing the title track of Dam Swindle’s 2018 album: ‘High life’ co-written by Lorenz Rhode. Ash Lauryn has been moving from strength to strength and is proudly representing the city of Detroit and all its musical heritage with her DJ sets, productions, and the content she makes. We recently got the opportunity to meet in person and this woman is about as real as it gets. Her aura simply vibrates when she plays, and she oozes class behind the decks. This remix – co-produced with Stefan Ringer- takes a deep and grooving approach to the original, with new heady percussion to add that original Detroit flavor.

The next track is a remix by of our favorite and colorful Dutch artists: Arp Frique. Arp Frique is known for his multicultural take on music, combining Caribbean and Cabo Verdean styles with classic disco and funk. He decided to write a whole new song around the vocals of the Swindle, Rhode & Tom Misch hit ‘Yes, no, maybe.’ He takes a loose-limbed, tropical disco direction where the live, analog recording lays a perfect foundation for this breezy track. The vinyl release contains the vocal mix, while we also have the instrumental available for download.

The Ep closes with a Dam Swindle original for the 2018 album High Life that really needs no introduction: ‘Call of the wild feat. Jungle by Night.’ It’s a track that seems to keep the dancers happy wherever we play it and hasn’t lost any of its appeal in the past four years. Originally only released in album format, this track now makes its way on a single 12” to round off an exciting new release by the Swindles. Enjoy the music, play it loud and remember…

Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.

The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.

The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.

‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.

On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.

The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.

Grab this record while you can and share the love,

Heist Recordings.

It’s the new millennia. We find ourselves outside the Packard Plant in Detroit. Inside dancers coalesce on the work floor of another decaying American metropolis. Part two of Terrestrial Funk’s six part series with Dan Piu brings us to the year 2000. Four more tracks from the three decade compendium with nods to contemporaries like the late great James Stinson. Astral ancestors on celestial highways. comes with a foldout 17" x 24" poster of Dan Piu's oil painting of the Detroit skyline in the year 2000

Brand new release on Mondo Groove with a Remix double pack of selected tracks from Daniele Baldelli classic “Cosmic Temple” six chapters that were out on the italian label from 2015 to 2017. You can find everything for everyone in these new versions. DJ Tennis and In Flagranti tributing pure Cosmic sound with their interpretations of „Gandharva“ and „Afelio“, DJ Ralf transforming „Kosmaro“ into a house stomper, Tiger & Woods adding their subtle boogie touch and edit science to „Vhanessa“, Clap!Clap! going deep and percussive on „Isotropo Funk“, Alkalino tripping italo-disco with „Inner Light“, Club Paradiso in an afro-balearic clash on „Joka Joka“, Eric Duncan working a deep-techy groove on „Diffrazione“, and Dionigi, often production partner of Baldelli, finishing in glory with a brilliant funky take on „Taxon“. You can’t sleep on this.

‘ep12’ stays true to committing Defected’s biggest digital releases to wax, delivering a package of house heat previously unavailable on vinyl. Spanish production maestro David Penn takes over the A-Side, kicking things off nicely with supercharged vocal house cut ‘Lift Your Hands Up’ featuring Ramona Renea. David’s hand-clapping, piano riffing production style continues on his remix of Idris Elba & Inner City’s red-hot collab ‘No More Looking Back’, brimming with summertime energy. On the B-Side, another close friend of Defected Riva Starr takes control. Featuring London vocalist Phebe Edwards, the original version of ‘Love Divine’ opens, with menacingly gradual builds, bubbling synths and spectacular organ breakdowns. The Funk Mix follows, deeper and groovier while continuing to showcase Riva’s intuitive, multi-faceted production at its finest.

Six years after delivering his debut album - a digital-only affair called TruSkool - Demuir has finally got round to recording a follow-up. The Toronto native's brand of house is chunky, groovy, deep and funky, taking cues not only from previous collaborators such as DJ Sneak, but also those of his contemporaries that make great use of dusty samples and killer drum programming. As a result, Visions manages to work both as a collection of club-focused cuts and an album you can listen to repeatedly from start to finish. Our picks of a pleasingly strong bunch include the fluid, disco-tinged, Hipnotic-sampling brilliance of 'Mind, Body & Soul Call Me', Tush hook-up 'Skylar' (a superb slab of gospel-tinged soulful house) and the delicious Fred P collaboration 'Dream (Part Ii)'.