Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose.This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House. The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet. B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood… Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks. B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set. The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

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Some five years after re-launching his Crayon label via a fine EP of vintage "Tracks From The Vault", original 1990s tech-house producer Mark Ambrose serves up more gems from his bulging archives. The quality threshold remains dizzyingly high throughout. Check first "Nightshift (Deeper Mix)", where gentle, alien synth lines and deep space chords tumble down over a heavy analogue bassline and locked-in beats, before turning your attention to the slamming techno beats, looped electronics and mind-mangling TB-303 motifs of "Dusty Acid". Also impressive is "Space Animals", a deliciously dubbed-out affair rich in sub bass and drifting, deep space chords.

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As a companion release to his new material on is / was, Mark has been kind enough to let us dig through his extensive back catalog, remaster and reissue three pearls from the Crayon label heyday. Zulu Groove and Warehouse Blues roll along the darker technoid mode Mark was known for at the time, while Thru showcases the lighter, bouncier side of his style.

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Tech House royalty Mark Ambrose continues his benevelont reign with three slices of varied funk on the fourth is / was installment. The first mix of Makossa emphasizes the "tech" portion of "tech house", favoring driving rhythms and a big kick for peaktime vibrations. Mix 2 and Wagamama lean towards the tripping, spiralling kookiness that Mark is known best for. Laslty, we've commissioned some fresh-faced talent on remix duties. Teakup contributes a whirlwind remix of Makossa featuring broken, stuttering beats and advanced sample wizardry for a truly genre-eschewing workout.

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Originally released in 1999 on Crayon Recordings now remastered & re-released with a 2016 very slight Re-Edit version by Mark Ambrose himself (extra trip to that breakdown!) this killer warehouse track with his trademark percussive Rhythms and Bass driven vibe has become a most sort after gem in recent years , on heavy rotation with a few select dj's - Valentino Kanzyani , Ricardo Villalobos etc… Discogs prices through the roof blah blah blah... On the flip Valentino Kanzyani delivers a hypnotic 12 minute spaced out groove for a late night dance floor - a really special complete rework, heavy on the bass , that will get into your head and fire the
deep dancefloors. So happy to unleash this one. 200 copies going out for distribution, 300 pressed . Note: label lists A & B sides the wrong way round. Murge Recordings was launched back in 2012, with an artist roster which includes the like of Aubrey, Colin Dale, Jay Tripwire, Jordan Peak, Mark Ambrose, Mr K-Alexi Shelby, Plaid, Robert Armani and Orlando Voorn to name a few.


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Incoming… Bass Culture delivers a fresh new EP featuring three classic cuts remastered for 2015. Selected by label head D’Julz, Bass Culture’s 44th release comes from British producer Mark Ambrose, owner of cult outlet Crayon. Mark has been DJing since 1989 and decided to inject his passion for music into production during the late 90s, setting up Crayon in 1997. As a fan of Mark and his label, D’Julz decided that Bass Culture would be the perfect place to re-release a few of his timeless tracks, so here we have the Groove X EP…Though it was released 16 years ago in 1998 the title track hasn’t aged a bit, powering along with a rough groove counterposed with enchanting atmospherics. On the flip ‘Electricity’ (featuring David Holness) has a more celestial air with squelchy effects and jaunty vibe throughout, combined with David’s velvety vocals. ‘Ozone’ completes this trio of classics and ends things on a high with hypnotic bleeps cascading down from the high end, a large slice of bass and that ‘I can’t quite understand’ vocal samples to really set things off.



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Mark's classic 'Shooting Stars' was originally released on the late great 'Offshoot' label in 1998 and became an underground hit, seeing support from a variety of DJ's including Derrick May, Cajmere and of course, Ben Sims. Fast forward 15 years and this uncompromising tough edged disco workout still gets dropped and is highly sought after on the second hand vinyl market, so we thought it was time for a respectful remix package. First up is a brand new firing makeover from the man himself that jacks in all the right places while staying true to original groove, then label head honcho Ben Sims who drops an intense Lil Louis inspired reworking. Uk hero Aubrey gets Dark on us with an intricate and menacing remix while newly formed Fokus Group (aka Paul Mac & Ben Sims) pull no punches with a relentless and harsh interpretation (Vinyl Only).


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At Curated By Time, we’re dipping back into the archives once again, this time revisiting Westward, the collaborative EP from Kenneth Graham and DJ Kuya.

Originally released in 1999, the record captures a moment where deep house grooves met a subtle tech edge, built firmly with the dance floor in mind.

The title track leads the way with rolling rhythms, tight percussion and understated synth work, striking a balance between depth and drive. The rest of the EP follows a similarly focused path, keeping things stripped back and groove-led throughout. Now reissued on Curated By Time, Westward returns as a reminder of a sound that still fits neatly into today’s club landscape.

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Curated By Time ventures back to the year 2000 with their latest release. It’s a re-issue of Kage’s Meke EP, featuring six distinct cuts of dancefloor-geared musical goodness.

The title track takes centre stage, a thick and chunky tech house number that’s packed full of low-slung, club-ready sub. Safe Passage continues in a similar vein, with rolling bass tones sat beside gritty synth pulses throughout.

We’re then graced with the ethereal sounds of North Star, acting as a gentle interlude before Captivity ups the tempo once more, as whomping synths lead us deep into heads down, hands up territory.

Proceedings then slow down on Return To Ovalau, a penultimate track made up of calming ambient elements. Transporting us to worlds far removed from our own, Rituals then closes proceedings on a similarly dream-like note, rounding off the re-issue in euphoric, club-ready bliss.

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Some things get better with age, something that Spanish label Curated By Time are all too familiar with.

Take Mark Ambrose’s Dream Mode, a 1997 treat that will soon be re-released on the Barcelona-based imprint. Twenty-five years after its initial inception, it feels as forward-thinking today as it did back then.

Take the title track for instance, a soothing, electronic-fuelled cut that pulses with wholesome synths throughout. Or the gritty tones of Colonel’s Measure, raw and unapologetic, that features a foundation of thick, hard-hitting percussion. Then there’s Redial: hypnotic, dance-inducing musical goodness to end proceedings in style.

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