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Members Only is back with another slab of heavy-psychedelic-cut-up-tribal- disco-funk-madness. The relentless tribal rhythms and chanting of standout "journey Into UR Feelings" feel deeply ceremonial before eventually giving way to hands-in-the-air disco euphoria. 4 tracks. Not to be missed, Seriously.

Re-listed Side 1 features Italo Disco classic "takin' IT Straight", Giorgio Moroder label mate Meco "space Sentry" and "man This IS MY Girl" by Kikrokos (made famous for RON HARDY's Jungle DJ edit). B/w 2 unreleased NY Boogie Disco edits by Dubbed Version. Limited stock with labels (vs the original stamped white labels).

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight Cassimm lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'love Desire' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, Cassimm yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

Oceanvs Orientalis reveals the second single from his forthcoming album on Crosstown Rebels with ‘Heart Pieces’ feat. Idil Mese, accompanied by remixes from Mustafa Ismaeel and Nightmares On Wax.

A producer, live performer and solo act whose productions merge influences spanning Turkish, Kurdish, Armenian and Arabic sonics and beyond, Safak Oz Kutle, aka Oceanvs Orientalis, has crafted a sound that is entirely his own ever since making his debut back in 2014. Following on from his impressive debut appearance on the imprint with ‘Il Lupo’ alongside Italian talent Tooker, revealing the first single from his forthcoming album, the Istanbul-based talent is back on Crosstown Rebels with another gem taken from the project as he reunites with singer-songwriter Idil Mese for the excellent ‘Heart Pieces’ - with remixes from Crosstown and Rebellion regular Mustafa Ismaael, and legendary house talent and Warp favourite Nightmares On Wax.

Slow-blooming and resonant throughout, guided by Mese’s soulful and emotive vocals, vibrant sax melodies and trippy background samples, ‘Heart Pieces’ is a dazzling slice of laid-back, jazz-infused house music full of subtle elements. Remixing the record, Mustafa Ismaeel leans towards late-night hours with a remix drenched in rolling percussion and sweeping leads, while Nightmares On Wax takes the track in two directions - opting for loose drums, hazy tones and chugging grooves across his first take before laying the focus solely on the musical elements with his ‘Club Dub’.

A growling echo came from deep within the tunnel. There was movement, he was sure of it, but was it living? The wind brushed the darkness, stroking his ears as it passed through the entrance where he stood. Whispers of air danced along the concrete walls and he felt the presence of another. Something stirred down there, but whether it was friend or foe, he could not be sure...

As the name suggests, this EP guides the listener with voices, vocal samples, and choral pads, glueing dub techno soundscapes together. The work brings a dark and brooding, yet warm sonic structure. Distortion provides textured atmospheres, while analogue rhythms build on sturdy 4/4 foundations in meditative cycles.

Guided By Voices: The title track beats with heartthrob kicks, gently arpeggiated melodies, and flecked, illusive vocal samples. Messier808 builds curiosity in the listener, as we try to catch hold of the voices. Each time they remain out of reach. Understated and subtle, the release marks a new outlet - bringing psychedelic, dub, and meditative techno under one roof. Road to Frederikshavn: Driving, robust and punchy. This track comes with a clarity and forward motion that energises the meditative feel of the previous song. Falling choral pads juxtapose sturdy drums to combine meditation with movement. Redshift: Bleepy stutters chime like electronic birdsong, looping in with the cyclical soundscapes of the EP, inducing another trance-like state.

This engaging and thoughtful release from the Dutch producer, Messier808, marks the first imprint on The Messier Objects. The tone has been set with breathtaking artwork and intricate soundscapes for what is to become an absolutely intriguing record label and a talented emerging artist.

Deepbass & Massa merge their energies in a new journey of hidden traffic to bring three original tracks which blend a lively mysticism and peace. Mastered at Artefacts Mastering. Early support from: Richie Hawtin, Slam, Svreca, Ness, Dvs1, Dax J, Takaaki Itoh, Alexander Kowalski, Amotik, Echoplex, Dave Miller, Joachim Spieth, Zadig, Alderaan and more.

You now have the opportunity to purchase the second ever Enormous Mouse EP - Stu & Nee - The Elusive Exclusive EP - that came out originally in the early noughties (with only 100 pressed of each back then - they were so underground they made their own labels and stuck them on by hand!). The record come in an awesome Enormous Mouse housebag with white inner sleeve.

For its sixth release, the Madrid-based label N2mu presents an eight-track Various Artists compilation featuring Ivna Ji, Teslasonic, and Larionov among others. A gathering of renowned artists able to convey a homogeneous music message without losing sight of their creative individual characters. As in the latest N2mu release, Xergio Córdoba (Eternal Midnight Mastering Studio) has been in charge of mastering duties, while the Galician visual artist, Plástica, has created the artwork for the project.

You now have the opportunity to purchase the first ever Enormous Mouse EP - Stu & Nee - The Lost Boys EP - that came out originally in the early noughties (with only 100 pressed of each back then - they were so underground they made their own labels and stuck them on by hand!). The record come in an awesome Enormous Mouse housebag with white inner sleeve.

The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue.

Whether taken as warning or promise, No Highs delivers – this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined.

Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys. Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions “negation” as a muse of sorts – the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet.

Vieze Meisje is the singing, performing and all-encompassing second self of the mere mortal Maya Mertens.

Reinier Zonneveld s Filth On Acid label comes ready with a first ever album only 18 months after launching. In that time it has released music from big names like Carl Cox, Gabriel Ananda, Bart Skils, Pig&Dan, Emmanuel Top, Coyu and many more, and this standout full length comes from Mees Salomé. It explores melodic and immersive techno, is entitled Big Thoughts Like Elephants and has 12 tracks that really journey into many different moods and grooves and the whole thing plays out with a real sense of musicianship that leaves an indelible mark.

Barcelona's Ciudad Lineal finally deliver the follow up to their fantastic demo from 2013. A full length album of dark minimal wave heavily influenced by El Aviador Dro y Sus Obreros Especializados, The Normal or Cabaret Voltaire. Armed with a bass guitar, drum pad, a keyboard and two synths Ciudad Lineal manage to create a conceptual piece around the idea of progress and industry as opossing forces. 'El Nuevo Hombre' is divided in two parts each one comprising one side of the album. The A side being 'The Splendor' and the B side 'The Fall' joined by a speech symbolizing mankind's awakening. While the Ciudad Lineal sound is certainly rooted in the early 80's synth explosion the band remains fresh due to their lyric approach as well as their DIY ethos.

Buoyant, spirited, and merging the cultural influences of the Ivory Coast, Burkina Faso, and Lebanon, Moaïs debuts on 1432r like a cool glass of water. This EP blends his African influences with modern and informed house traditions, building a sound that’s energetic and timeless. It’s music colored by a longing and loving obsession with the stars and their guiding light, oriented to the DJ, and guaranteed to get the club rats racing.

Ladi6 is a singer with soul. A singer with a hip-hop background and masses of pop-appeal. A singer who first gained attention through her features with the legendary New Zealand export-band Fat Freddy's Drop, but who has also performed alongside such diverse artists as Gil Scott-Heron, Mayer Hawthorne and Mos Def. In short: A singer whose eyes have seen much and whose style is not governed by rules. As if that wasn't enough, her enormous charisma enables her to win her audience over within minutes with full support of her band of Parks and Julien Dyne (BBE).
The 30-year old has always endeavored to use music to tear down barriers and dissolve purported genre-boundaries. With her previous album, "Time Is Not Much" (BBE) which was produced by Parks and Mu (Fat Freddy's Drop), Ladi6 has already taken a perfect shot at her goal, which, combined with the interplay between the many diverse elements of the music, has a highly impressive effect. "The Liberation Of…" has already top the New Zealand independent charts for consecutive weeks and her single "Like Water" is the #1 independent New Zealand song on radio.

Ladi6, a New Zealander of Samoan origin, feels a deep connection to her homeland. And her homeland has suffered some tragic events in recent years: One and a half years ago, the South Sea paradise of Samoa was stuck by a Tsunami. Ladi6, whose real name is Karoline Tamati, was present when the wave of destruction arrived. A few weeks ago an earthquake, measuring 6.3 on the Richter scale, devastated the New Zealand city of Christchurch - the town in which her family lives. Again, Karoline bore witness to a natural catastrophe inflicting deep wounds on the soul of a population.

All the more surprising then, that 'The Liberation Of…' doesn't for one moment sound burdened or melancholy. Quite the contrary, in fact: It is an easygoing, feel-good album. The title of the record, however, suggests both the aim of the songs and the result, which their creation has achieved. For the album is exactly that, which its title suggests: Liberation.

Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called ‘Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance.

The tracks on ‘Grush’ are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, ‘Imperial Crescent’ is named after a Japanese Hotel, as is ‘Belvedere’ in Prague, while some tracks such as ‘Hyper Daddy’ were created specifically to play live.

Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take ‘Hyper Daddy’s’ spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of ‘Windsor Safari Park,’ which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. ‘Grush’ is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.

Modern Love’s 7” series returns with a 45 special from Chicago’s Sun God, delivering a pair of chrome-burn acid jak and cosmic house tear-outs fired to spangle the dance. Screwed, exceptional music for the club.

A follow-up to Jamal’s album ‘Thanks 4 The Tracks U Lost’ (Modern Love, 2022), this rare 7” outing hails the Chi house don at his mind-bending best, plotting coordinates for the outer limits of club music whilst firmly tethered to its fundamentals. Never one to follow the grid, Jamal makes the template his own with a hands-on approach that translates decades of experience - from dancing to Ron Hardy in the ‘80s, being an apprentice of sorts to Adonis in the ‘90s, and then thru countless performances and almost innumerable releases ever since - into uniquely transcendent shapes.

Coming on like Sun Ra strapped with a 303, ’It Is My Fault, My Fault Alone’ yields the chewiest acid and spitting, hot oil rhythms articulated with the sort of fervour and psychosexual thrust that underlines all of Jamal’s best work, and here emphatically brought to to the boil via a maze of knotted drums and frayed synths that join dots between Prince and Armando in an effortlessly asymmetric style. The B-side ‘Be Fearless In The Pursuit Of What Sets Ur Soul On Fire’ only ramps the pressure with a frenetic arrangement anchored to a modulated kick and synced to psychedelic synths that roll with seemingly endless momentum.

At the risk of sounding like yoghurt-weaving rave casualties; Jamal is once again utterly attuned to the type of cosmic frequencies and aerobic mystic needs that have been lost in translation by successive waves of dry-ass posers and dancers who don’t like to get their kicks dirty. And for that, we eternally salute him.

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Service marks the Ostgut Ton debut of Spanish producer, DJ and artist Jasss aka Silvia Jiménez Alvarez.

The evolution of A World Of Service has curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show Jasss hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Service is powerfully concentrated in sonic form. Throughout the album Jasss muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, Jasss seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her blistering dancefloor 12” for Whities / AD 93, A World Of Service folds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. Jasss is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial pop of the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, Jasss sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, Jasss offers a compelling glimpse into an essential type of artistic voice.

Fierce, subtle music, radically strange and unafraid of the deep, but with a killer understanding of rhythm. Lush drum-machine nocturnes, gnarly electronica and glorious flowerings of zoned-out dub space: an evolutionary music, continuously engaged with experimentation both in the studio and the club. Whether prepared solo, or jointly with his spar Mix Mup, a Kassem Mosse recording is less of a stand-alone creation than the next thrilling installment of an unstoppable groove. True to form, Disclosure dazzlingly extends some of the most mystical, essential dancefloor-rooted music of the last decade, from dusty, dream-state techno on Workshop and Mikrodisko, to frazzled beat downs on Trilogy Tapes and Nonplus. Pedigree techno and house are the lifeblood of “Disclosure”, yet with something newly microscopic about them. Its mesmerizing juggle of pointillistic percussion, melting-wax chords and fleshy bump’n’grind suggests biological processes at work, as if Mosse has zoomed right into the cellular metabolism ticking away at the core of the music. These textures are woven into some of KM’s richest and most emotionally complex material so far, constantly enlivened by forays into jazz, dub and beyond. Expertly pieced-together and paced, “Disclosure” brilliantly registers all the self-contained coherence and artistic authority of an album proper, yet shadowed throughout by the open-ended and questing spirit so vital to Mosse’s music. Its intimate enactments of non-closure, and its sense that anything could happen at any moment; its thematic play between excess and incompleteness, babble and tongue-tied stutter, and-you-don't-stop grooving and entropy, wobble and the pause-button.