Repress!

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int’l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present ‘The Committee’. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris’s Chris Watson.
Right from the studio’s initial creation, Ruf Dug felt inspired by the space’s unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With’s Holy Grail reissue of Bô’vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.
A wholly synergetic work, the project’s title “The Committee” reflects the collaborative nature of this release, as Ruf Dug states: “Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.” The EP also features additional production from Rhythm Section’s own Mali Baden-Powell, who DJ’s and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris’s Chris Watson and Bradley Zero. “I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned… I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor [to the studio] and that's it- now he's a pop star!”

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The dust settles on the inaugural release... We immediately swipe the dust away and prepare a triple-shot salvo from FYI Chris: two west friends from around the way. Tracks informed by times spent on the shore, in fields by moonlight with moonshine and in the line for some midnight scran. Pass some time and the peace pipe with this bundle of audio from PECKHAM, LONDON. (?°?°)?? ???


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After a blistering end to 2016, Rhythm Section INTL begins its 2017 schedule with a second outing from Peckham duo FYI Chris. Sitting firmly left of centre, these 4 tracks manage the very difficult task of being both unconventional and highly functional. Highly recommended for fans of similarly difficult-to-categorise artists such as Red Axes, Axel Boman and Baba Stiltz.



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Repress!

As spring dawns, Rhythm Section International go from Local Artist to a pair of very ‘local’ artists - Peckham’s very own Chris Watson + Chris Coupe; otherwise known as FYI CHRIS , who present the ‘Back In The Millennium’ EP as the labels 5th offering. The EP was born after a rather hazy late night listening session at Rhythm Section HQ, where bossman Bradley Zero was instantly beguiled by the Duo’s hypnotic and rhythmically complex arrangements.
The record begins abrasively with the trance-inducing mechanical stutter of 'back in the millennium', before shuffling into downbeat number ‘Jeru' and then picks things up with the peak time groove of ‘need i say more’ before bringing us back down to earth with the melancholic acid bump of 'dedication’. Early support from Osunlade, MR.G, Ryan Elliott & Damiano Von Eckhert Ready for Club Use.


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Bordeaux based producer Leon Revol releases debut album on Church.

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Julio Victoria is a name that needs no introduction in Colombia's electronic music scene. One of the most influential DJs to emerge from South America over the last decade, Julionow presents Astrolabe, his new EP and first vinyl release. It is also his debut for South East London based label, Church.
The vinyl, composed of three portentous tracks, found its inspiration in an elaborate old fashioned instrument, historically used by astronomers and navigators to identify new stars and planets. Perhaps that's the reason why "Astrolabe" immerses the listener into a celestial state of relaxation and contemplation. A dance ritual that never ends. "Evasión" introduces a more percussive lead groove that carries hypnotic top lines of fuzzy synth patterns that ease across the duration of the track. "Tres" closes the collection with groove inducing hats and a pulsing bass line that partners perfectly with more reverb-soaked swells of filtered chords and showers of twinkling & expanding melodies.
Astrolabe will have a solid run of launch events across Colombia, as well as in Asia and Europe, which will include Seoul, Tokyo, Hong Kong, London, Zurich and Dublin.

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Church Marble 005 is upon us and it comes from Cape Town, courtesy of Biodive.

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After a brief hiatus, Church Volumes returns with deep cuts from Igor B, Leon Revol, Wasserfall & Vaage and U-I.


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Mancunian Hidden Spheres has showcased himself as one of the most innovative producers out there, releasing across the likes of Lobster Theremin, Rhythm Section International and his own imprint Fruit Merchant, all of which have been the perfect outlets for his inspiring blend of house and jazz. Church now features as the latest addition, who continue their stellar discography with 'Words Can't Explain', a collaborative EP which sees Hidden Spheres alongside singer-songwriter and guitarist, Oscar Jerome.
The collection begins with the original mix, lowering you into slick jazz guitar licks and echoing vocals, before Hidden Spheres provides a tight groove to lock around the melodies in fine form. The hybrid creation of jazz meets house binds perfectly as warm keys hang effortlessly in the air and popping guitar lines carry you onwards, supporting the sublime vocal from Oscar.
The dub version opens up room for the guitar licks and synth top lines to take centre stage, a real opportunity to marvel at the arrangement here.
On the flip is Yu Su's rework who ups the tempo and dims the lights for a punchier rework.. The half way point welcomes a percussive led break before the hats return and pick up the groove once again, closing the 'Words Can't Explain' EP in style.

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The Detached Observation EP kicks off with Paradise Crane - a deep and dreamy production carried by soaring synths that echo throughout. Valentino Mora builds upon the soundscape left by Rai, remixing with fine affect as he introduces a simplistic yet highly effective tech groove to complement her work well.
The B side sees Rai offer up a balearic feel with rich horn lines dancing around a haze of muffled bass line and soft kicks. The EP comes to close with more delightful reverb soaked chords which are carried by liquid smooth hats from start to finish coming together in fine form for the title track.

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Loz Goddard is next up on Church White with three hazy nuggets, alongside a remix from your fave house band Session Victim.


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DJ Malcolm steps out the dog house, featuring Dabriel Garius on keys.



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Pacific Coliseum lends his craft to Church under new alias PC. Euphoric biz on the A, with a deep snip on the B.


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Church start 2017 in familiar fashion, introducing Ben Hauke to the label.


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South London via Toronto, next up for Church is Jesse Futerman.

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Church Volumes 003 featuring Nicholas, Seb Wildblood, Jesse Futerman & Philip Budny.


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Church Marble 002 comes in the form of a collaboration between Beesmunt Soundsystem & San Proper.

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New Church Black from Beesmunt Soundsystem, five fresh cuts including a Mosey remix.

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Ishmael returns with his second offering for church, this time his debut full length 'Sometime In Space'.

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After a successful summer of Church White releases gathering support from Session Victim, Move D, Galcher Lustwerk and a host of others, Church returns with it's next offering from Peckham via Auckland brothers Chaos In The CBD. Fresh off the back of the Juno number one seller EP 'Midnight In Peckham' on Rhythm Section, they delve into deeper territory with emotive title track 'Constraints Of Time Travel'


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After a Summer of Church White Releases, Church Black steps back to the forefront, this time with eight Raw Jams from Church alumni Viers.

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Following the debut 12? from young blood Happa, fledging London label Church break into the year with their second official release from up and comer Rumah. Following his debut collaborative 12? on Nineteen89, the double A-side release exhibits a maturing of the producers sound and cements his allegiance to affront, dance floor ready Techno. Both tracks centre around infectious spoken word samples, mercilessly spliced for the benefit of Hughes' exceptionally powerful use of rhythm. 'Stutter' combines bouncy kicks with glitchy percussion, whilst 'Murmur' melds heavyweight grooves with mesmerising, dark acid bass lines and cutting snares. Church founders Apes & Seb Wildblood's spin on 'Stutter' slows down the tempo into Deep House/Techno territory, with simmering reverbed stabs and atmospheric vocals, this re-imagined cut is tailor made to be used as a solid club tool. James Fox on the other hand provides a slinky interpretation of 'Murmur', Stretching out the samples taken from Rumah's originals and manipulating the evocative, soulful vocals he is best known for. The release marks an integral step into the early foundations of the promising label, Rumah is showing himself as a definite one to watch. Early support for the release comes from; Bicep, Dark Sky, Ben Pearce, South London Ordnance and Paleman.

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