Black Loops is an endlessly creative producer who has brought constant invention to house music since his first release over a decade ago. His widescreen sounds take their cues from funk, soul and disco and are underpinned by a love of 90s grooves. They appeal to DJs and dancers alike which explains his constant demand for DJ sets around the world as well as his music being played and supported by the biggest names in the scene. After many years of vital 12"s and remixes, he now draws on everything he has learned and raises his levels with a fully realised debut full length. "This album represents a step forward, an opportunity to craft something more musical and intricate, both in terms of arrangement and melody," says the artist, who draws on his roots as a drummer and lays down most of the kit and percussion parts himself. The majority of the album tracks were played live to give them an organic, improvised and personalised touch, with resulting jams reworked and reshaped where necessary over the last year. Because of that fluidity, Always Moving works in many settings. The mix of hooky vocals and compelling drums ground the record with a human feel, as do the collaborations with the guest musicians Black Loops has long admired. The blissed-out broken beats of CDMX kick things off in soulful style, there's a deeper funk to Mamao (a tribute to the hugely influential Azymuth drummer Ivan Conti) and Detroit Love Letter featuring Byron The Aquarius is a warm and gooey deep house cut with majestic chords gelling the mix together. Marlena Dae is an emerging and hugely talented singer based in Berlin and features on tracks including the Metro Area-style disco bounce of Electrical and LSD as well as the weighty deep house of Experience. She also adds her stylish and seductive tones to Pleasure Ride on which Harvey Sutherland features with some cosmic synth work. Always Moving is an artistic triumph that blends a personal and musical approach to production with lived-in grooves that warm the body and soul.
The rest of this most intimate and heartfelt record features the boogie-tinged retro-future synth glow of Synesthesia, dusty drums and twinkling late-night keys of Time Space Matter and leggy downbeat lushness of Intercourse. The lo-fi and left-field Dilla-esque drums of Slow Jamz and loved-up strings and warm, bass guitar groove of Good Bye Berlin close down the record in a tender fashion.

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Black Loops is an endlessly creative producer who has brought constant invention to house music since his first release over a decade ago. His widescreen sounds take their cues from funk, soul and disco and are underpinned by a love of 90s grooves. They appeal to DJs and dancers alike which explains his constant demand for DJ sets around the world as well as his music being played and supported by the biggest names in the scene. After many years of vital 12"s and remixes, he now draws on everything he has learned and raises his levels with a fully realised debut full length. "This album represents a step forward, an opportunity to craft something more musical and intricate, both in terms of arrangement and melody," says the artist, who draws on his roots as a drummer and lays down most of the kit and percussion parts himself. The majority of the album tracks were played live to give them an organic, improvised and personalised touch, with resulting jams reworked and reshaped where necessary over the last year. Because of that fluidity, Always Moving works in many settings. The mix of hooky vocals and compelling drums ground the record with a human feel, as do the collaborations with the guest musicians Black Loops has long admired. The blissed-out broken beats of CDMX kick things off in soulful style, there's a deeper funk to Mamao (a tribute to the hugely influential Azymuth drummer Ivan Conti) and Detroit Love Letter featuring Byron The Aquarius is a warm and gooey deep house cut with majestic chords gelling the mix together. Marlena Dae is an emerging and hugely talented singer based in Berlin and features on tracks including the Metro Area-style disco bounce of Electrical and LSD as well as the weighty deep house of Experience. She also adds her stylish and seductive tones to Pleasure Ride on which Harvey Sutherland features with some cosmic synth work. Always Moving is an artistic triumph that blends a personal and musical approach to production with lived-in grooves that warm the body and soul.
The rest of this most intimate and heartfelt record features the boogie-tinged retro-future synth glow of Synesthesia, dusty drums and twinkling late-night keys of Time Space Matter and leggy downbeat lushness of Intercourse. The lo-fi and left-field Dilla-esque drums of Slow Jamz and loved-up strings and warm, bass guitar groove of Good Bye Berlin close down the record in a tender fashion.

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Black Loops is an endlessly creative producer who has brought constant invention to house music since his first release over a decade ago. His widescreen sounds take their cue from funk, soul and disco and are underpinned by a love of 90’s grooves. They appeal to DJs and dancers alike which explains his constant demand for DJ sets around the world as well as his music being played and supported by the biggest names in the scene. After many years of vital 12"s and remixes, he now draws on everything he has learned and raises his levels with a fully realised debut full length album dropping 9th May, 2025. Ahead of the LP we present the Experience EP which sees Jimpster and Black Loops himself deliver Dub versions of two of the LP’s highlights; Electrical and Experience. Jimpster kicks off with a stripped back, rolling Italo-inspired groover with touches of modular synth sequences, string stabs and dubbed out vocals. Black Loops follows with his own version keeping the funk factor intact with guitar licks, synth blips and extra fat, moog bassline. Flip over for the original of Experience featuring Marlena Dae with it’s distinctly 90’s, Vogue-era Madge mood. Black Loops then proceeds to take it to the club on his Dancefloor Dub, stripping out the vocals and working up a punchy, minimal groove for the dancers. Closing out the release we have an exclusive original, not included on the LP entitled Inmasoul. Jazzy, deep beats are the order of the day here, making for a perfect warm up track to set the mood.

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Time to welcome Black Loops back once again for his third release on Freerange. Riccardo continues to impress with a consistent and evolving output on labels such as Shall Not Fade, Atteral, Gallery and Madhouse, his warm, bouncing beats and basslines working their magic in a broad cross-section of DJ’s sets the last decade or so. Here on These Changes he teams up with young London producer and vocalist Cody Currie, known for his releases on Classic, Razor n Tape and Toy Tonics. These Changes is an uptempo, shuffling house track with a deep, rolling mood which doffs the cap to classic NYC sounds but with a distinct contemporary spin. The People treads a similar path with a repeating vocal hook and snipped and chopped jazz fusion sample adding the ear candy whilst punchy beats and echoing synths keep the floor bouncing. Think Charles Webster meets Joshua Iz on Guidance in the late 90’s and you’ll get the idea. Closing out this sublime release we have Driver which puts all the focus on a simple, compelling bassline pushing the groove along and creating a deep, emotive late night mood to move to.

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- 2021 repress -

After a wafting deep house collab with fellow Italian Berlin resident Ruff Stuff, Black Loops (Ricardo Paffetti) brings Shall Not Fade a third EP of rolling, danceable house of the highest calibre. Paffetti has built a reputation as a creative, high-class producer and does not disappoint on "Circulation EP" - the Shall Not Fade regular makes tribute to classic Italian house while adding a futuristic, unique spin.

The 5-tracker opens with "Mike The Dog". It's a crazy electro-garage hybrid that foregrounds frenetic drum loops, while soft lofi chords give way to a disco-like bassline, starting the record off lightheartedly. Title track "Circulation" hits with a syncopated kick and dubbed out vocals that swirl in your head, contrasting a smooth, darker sound design made for sunset dancing.

Paffetti perfects a meticulous sound palette across the B-side. From "Banana 20", a pacey track lead by its squelching bassline, to "Dream2gether" - gliding lead synth, trading spotlights with the echoed vocal - these are love songs for the dancefloor. The EP closes out to "Danse sur L'Hardcore", a pumping beast of a house track studded with sparkling chord stabs and g-funk synth trills.

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Berlin based talent Black Loops arrives on Madhouse Records to deliver his four-track ‘JAH Love’ EP this April, featuring two cuts alongside Nikoss. Title track ‘JAH Love’ opens the package through a smooth blend of skipping percussion, infectious vocal samples and funk heavy instrumentation, before ‘Your Mind’ introduces the first of two productions alongside Nikoss as rich piano melodies and acid-tinged bass patterns merge effortlessly throughout the track’s six-and- a-half-minute duration. On the flip, ‘NYC Dirty Talks’ takes a trip across the Atlantic as resonant pads and slick drum licks combine to reveal a production that would find itself perfectly at home within any Kerri Chandler set, before rounding out proceedings with the bubbling 303 driven ‘Silly Acid’ once again in partnership with Nikoss, guided by bright keys, soft chords and vibrant low-end tones.

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Freerange Records is proud to present the latest EP from Coflo, the Bay Area-based producer, DJ, and dancer whose unique blend of deep, percussive house and Afro-rooted rhythms has earned him a growing cult following. With an uncompromising approach to groove, sonic texture, and the dancefloor, Coflo crafts tracks that move bodies and challenge conventions. A lifelong house dancer and a student of Afro-Brazilian art-form Capoeira, his productions bring a deeply human feel to electronic music—always raw, always rhythmically charged, and always dance-focused.

A1 - Yewnite
A2 - Who The Frequency ft. Rawb Boss
B1 - Ring The Alarm ft. Rawb Boss
B2 - Yapperz

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Just as the non-believers think they know what to expect from these two they’ve thrown a rather large curveball and headed down a different road. Figure Of Speech wears some African influences on its sleeve with a bumping party groove punctuated by some nifty afro beat keys stabs and just a hint of acid. Victoria’s Secret treads more familiar Detroit Swindle territory with the boys trademark shuffling beats and larger-than-life side-chained pads bringing the drama. Finally, we have suitably titled Live At The Cosmic Carnival where we’re treated to some peaktime tribal business with rolling bass, dubbed out dancehall science and some nifty conga work. All in all, some fiyah for the dancefloor from a pair of lads who know a thing or two about how to get a room jumping.

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Freerange Records are thrilled to announce the arrival of Crackazat's latest long-player, the scintillatingly soulful and jazz-enriched masterpiece, 'Evergreen'. There can be few artists to have emerged in the last decade or so who've made a more indelible mark on the deep house universe than producer, Ben Jacobs, better known as Crackazat. The accomplished musician's effervescent productions routinely hit the sweet spot between elemental dancefloor fire and cerebral musicality – thanks to a propulsive sound combining influences of jazz, house, garage, funk, hip hop, Latin, neo-soul (and far beyond). While he's already forged an instantly recognisable sonic palette all of his own, new album 'Evergreen' represents his most accomplished work to date. Making his full vocal debut while introducing a new level of songwriting prowess to his long-established dancefloor credentials, this is the complete Crackazat. Composed during – and undoubtedly informed by – these trying times, 'Evergreen' explores themes of adversity and gratitude, arriving as both a masterclass in contemplative songwriting and a celebration of musical influences. Elegantly bridging the gap between the soulful house underground and jazz-flecked crossover realms – inhabited by the likes of Jacob Collier, Thundercat, Tom Misch, and Jordan Rakei – the album echoes of a time where jazz-funk sensibilities and popular appeal were not mutually exclusive. Few artists boast the musical aptitude or creative vision to attempt such a bold fusion of styles, and thanks to its exceptional execution and irresistible appeal, 'Evergreen' is primed to introduce Crackazat's sound to an entirely new audience.

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One of Freerange’s longest standing artists Manuel Tur serves up another brilliant release in the form of Love Me Well. Someone who needs very little by way of introduction, Manuel has been honing his craft for nigh on two decades with a discography which includes some of the most influential labels and associations in electronic music. Running Back, Innervisions, DFA, Ovum, Objektivity, Mule, Drumpoet, Permanent Vacation, Andhim, André Hommen, Tensnake, Shit Robot, Tale Of Us, Ane Brun… you get the idea. Manuel continues to be in demand as a producer and remixer and remains relevant thanks to his golden ears, precision engineering and Midas touch. For his tenth Freerange release (not including his three LP’s!) he delivers a diverse three track EP which spans the house spectrum from the deep, emotive late night mood of the title track through sublime, delicate and hauntingly beautiful Paperasse and rounding off with the driving, acidic, minimal disco groove of Touch Move. Proper job!

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Freerange Records are happy to present the first of two EP’s taken from Crackazat’s forthcoming long-player, ‘Evergreen’. Featuring a stunning remix from Chicago house innovator, Ron Trent, the jazz-soaked EP serves as a tantalising preview of the tour de force that will soon follow. Few artists have made a more powerful impact on the deep house universe over the last decade than producer, Ben Jacobs, better known as Crackazat. Consistently striking the sweet spot between dancefloor heat and cerebral musicality, his unique take on the house sound elegantly incorporates elements of jazz, garage, funk, hip hop, Latin, neo-soul, and beyond. Eagerly awaited album ‘Evergreen’ sees Jacobs soar far beyond the confines of his existing catalogue, incorporating a whole new level of songwriting prowess while making his full vocal debut. Bridging the gap between the soulful house underground and jazz- inspired crossover realms, 'Evergreen' is Crackazat’s most accomplished work to date and unquestionably primed to further enhance his already glittering reputation. Blending the purest forms of deep house with authentic jazz sensibilities, EP opener 'Beacon Of Light' bursts with themes of positivity and gratitude. The virtuoso instrumentation endows the track with a distinctly live feel, while Jacobs’ inspired vocal charges the track with soul-rich sentiment. Intelligently crafted to bring the heat in all-manner of settings, its floor-focused beats and compelling arrangement combine to affect maximum impact whether played in the clubs, bars, or on the airwaves. Next up, deep house luminary Ron Trent steps in with his awe-inspiring take on Crackazat’s modern jazz ballad, ‘Simple Things’. Trent needs little in the way of introduction, a bonafide Chicago house legend whose spiritually-infused sound is unmistakably his own and never fails to mesmerise. Lifting elements of the Robert Glasper-inspired original while spacing out the stirring falsetto vocal, Trent stretches the track into a meandering deep house epic. Voyaging through waves of Latin percussion, ethereal piano keys, and psychedelic synth sweeps, Trent takes us on a profoundly affecting dancefloor journey as only he can. Next to arrive is Crackazat’s ‘Maritime Dub’ take on ‘Beacon Of Light’. Evolving over skippy house drums and thick bass, chords rise in to caress the looped and filtered vocal, periodically opening up into the full chorus line to add shimmer to the heads-down house bump. Aimed squarely at moving dancefloors while delicately tripped-out, this simmering groove sure to hit home with fans of the trademark Crackazat sonic. Finally, the LP’s title track 'Evergreen’ launches with a sprightly jazz swing before dusty drums add weight to the sophisticated instrumentation. Here we find Jacobs presenting jazz and house as a single entity, with carefully orchestrated wind instruments, keys and mallets dancing over an improvised walking bass line, as the distant vocal elevates the track far into the stratosphere.

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Jimpster’s lockdown LP was made throughout 2020 and finally sees the light of day at the end of February 2022 having been delayed around 6 months due to the ongoing vinyl pressing hold ups. Birdhouse is the revered producers seventh full length LP and can be considered a full circle as he takes a step away from the dance floor to revisit his early inspirations of jazz, 70’s fusion, library music, ambient and sample-based downtempo electronica. With its soulful touches, vocal and live musician features and trademark warm Jimpster production, we also think it could be his most accomplished and accessible yet.

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The crushing news of Kenny Gino’s sudden passing in July of this year hit very hard. Having only just come out of hiatus to release new Solid Gold Playaz material for us here on Freerange, the US underground house heroes are set to introduce their uncompromising deep, jacking sound to a whole new audience. And with Kenny’s partner Mike T’s blessing for the previously scheduled follow up EP to go ahead, we are proud to present you with the Solid Gold Playaz Next To You EP. For the hardcore fans out there, this music will blow you away, and feels to me at least, like the ultimate SGP release, even without the added weight and poignancy the tracks now carry. Opening up we have Next To Me which is as deep as it gets with beautiful floating synths drifting on top of an unrelenting rolling groove whilst Kenny’s vocal adds a powerful and emotive edge. My Soul Is Quiet follows with another incredible piece of music, drawing you in with its hypnotic mood and simple yet ridiculously compelling bass and synth hook. Again, the drums are unapologetically minimal - not a fill or breakdown in sight - but that is what locks you in and creates something entrancing which makes you feel like it could go on for eternity! Flip over for Who’s Playin’ For Ya, a more old school Chicago-inspired slice of raw, underground house which cuts up Rhodes, strings and snippets of vocal samples around a glitchy FM synth sequence. The funk is real on this one. Closing out this very special record we have Do You Think, going deeper still with expansive pads, soprano sax sample and chiming percussion all underpinned by a massive, dub bassline. Rest in peace Kenny Gino. You left a powerful legacy of amazing music! - Jamie

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It’s been a busy year for Jimpster, with his Soul Spectral and This Thing (with Rich Medina) EP’s both being amongst the best received and highest selling releases of his to date. He has also added his touch to The Sunburst Band, Soichi Terada, Feiertag, Baiana System, The Secret and Retromigration in the form of some massive remixes to boot, as well as having just released an Anthology spanning 4 vinyl. To help celebrate 25 years of Freerange and Jimpster we wanted to invite some of Jamie’s personal favourites to dig through the vaults and give their own spin on his sound. Kicking things off we have Oakland’s Space Ghost taking on One ft Casamena bring his deft, musical touch to the track complete with layers of digital synths, punchy bass and vintage drum machine groove. Next up it’s Detroit’s own Jon Dixon of Timeline and Galaxy 2 Galaxy fame. The student of Mike Banks and long-term Underground Resistance cohort turns Smile For A While into a late night, piano driven, fusion masterpiece with all that Detroit sonic trickery we know and love so much. LA duo Aaron Paar and Dave Fogg aka Teflon Dons released a slew of incredible 12’s in the mid- late 90’s before almost completely disappearing for most of the 00’s. Thankfully things are reactivated and we’re so happy to have them bring a tough, jacking, bass-heavy warehouse workout to the package. Atlanta’s Kai Alce is someone we’ve hoped to have contribute to Freerange for some time and finally it happened. Bags of smooth and soulful deepness drive Jimpster’s Inside The Loop in a classic direction with Wurli pads and Moogy solo all adding to that vintage sound. Man of the moment Kareem Ali takes the baton as he reworks Bought To Bare into a Balearic beauty worthy of playing during the most perfect sunset. If you’re a fan of Kareem Ali you’ll know the magic he brings and why he’s been hotly tipped as RA’s breakthrough artist of the month and included in Pitchfork’s best releases of 2020.

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The world of dance music 25 years ago was a very different place from the one we now inhabit. Rave had transitioned through Hardcore into Drum & Bass whilst UK Garage was brewing nicely and the UK pop charts were full of underground dance records. Meanwhile, the likes of Mo Wax, Ninjatune and Compost were pushing away from the dancefloors, introducing blunted beats, jazz-fusion sonics and a whole new movement to electronic music. It was into this atmosphere that Freerange was born, a UK label that reaches its quarter-century this year. At the helm over the last 25 years has been the partnership of childhood friends Tom Roberts and Jamie ‘Jimpster’ Odell. It’s been a long and eventful journey, from an era of 56k modems, faxed reaction reports and when DJs still bought actual records, Freerange has weathered many storms and sailed through some of the most revolutionary changes to hit the music industry. Through those 25 years, and like the proverbial comforting sound of Bob Ross’ voice, Jimpster’s own music and those artists he releases through the label remain a constantly reliable, not to mention dance floor-smashing presence through the ups and downs of the house music continuum. This Anthology brings together some of Jimpster’s finest productions across two double pack vinyl LPs from the preceding two and a half decades, showcasing his detailed approach to production and proving why he continues to thrive in the current scene, continuing to be held in high regard by many of the founding fathers of house music and young up and coming producers alike. TRACK LISTING: A1. Dangly Panther, A2. Seventh Wave, B1. Sleeper, B2. Can't Stop Loving, C1. One (feat. Casa Mena), C2. English Rose, D1. Curve, D2. Don't Push It

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As the dancefloor continues to be out of bounds you can rely on Freerange to bring you house music which runs that little bit deeper and more soulful, lifting spirits during these darker times. Following hot on the heels of Laroye’s Be The Change, the label offer another heartwarming release, this time from Brooklyn-based artist Greg Paulus. Perhaps better known as one half of No Regular Play, Greg has appeared on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt. For the City Movements EP Greg has delivered three brilliant originals which showcase his talents as a trumpet player, vocalist and producer. Opener Breezy Point comes correct with Greg’s vocals coming to the fore backed by a crunchy house groove, a solid, analogue bassline and simmering Moog synths. Flipping over we have Do You Love Me? co-produced with fellow Brooklyn artist Taylor Bense, and which takes a jazzier approach with Greg’s filtering trumpet arrangements adding a warm, organic depth to the track whilst the Prince-inspired house groove keeps the funk factor running high. Closing out the release we have Mr. Lee’s Trophy Theme in which Greg and co-producer Teddy Stuart reimagine the scene as a certain film director arrives to receive his latest award. There’s plenty of attitude, a hint of sleaze and a dash of humour but above all else we have bags of soul emanating from within the layers of warm pads, Wurli chords, trumpet lines and hooky vocal. TRACK LISTING: A. Breezy Point, B1. Do You Love Me?, B2. Mr. Lee’s Trophy Theme


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With his One EP still getting love from the likes of Spinna, Jamie 3:26, Joey Negro, Osunlade and many more, Jimpster strikes back with another release to lift spirits during these unprecedented times. Produced during the first few weeks of the worldwide lockdown, it was his intention to spread a message of positivity and optimism which can be felt on title track Smile For A While. The overall mood of the track has a slightly ambiguous yet heartening tonality, with a filtered looping vocal sample taking centre stage whilst piano lines and analogue arpeggios layer up adding depth and texture. The subtle and seductive groove will draw you in and its warmth and soul will make sure you smile for a while. Flipping over we have Echoes In My Head which takes a more percussive approach based around a rolling bassline and crunchy live hihats. Taking a slightly darker route, Echoes In My Head feels like Jimpster has successfully managed to get all his influences to meld together perfectly to form something cohesive and substantial. His love of 90’s ‘intelligent techno’, On-U sound, early US house, ambient, all going in the melting pot and forming a track which we’re sure will be something of a secret weapon for many DJ’s. Just the kind of track that can completely hypnotise a discerning dance-floor during the hazy hours. Closing out the three track EP we have the Head In The Clouds Mix, which is an alternate version of Echoes In My Head which heads in a more soulful direction. Piano chords and a bending bassline grab your attention whilst a percussion-heavy groove and dubby elements create space and depth to draw you in and ensure you get lost in its heady confines. TRACK LISTING: A. Smile For A While, B1. Echoes In My Head, B2. Echoes In My Head (Head In The Clouds Mix)


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Coming next on Freerange we’re very happy to announce our first Argentinian artist to the label, the highly talented DJ and producer Manuel Sahagun. Manuel has been putting out house music since the early 2000’s and has released tunes on Berlin’s Tooman, UK’s Drop, and Detroit’s Kolour as well as remixing Warren ‘Hanna’ Harris, Robert Owens and Patrick Chardronnet. He brings a freshness and eclecticism to his productions that fits in perfectly with the Freerange ethos of forward-thinking house music loaded with warmth and a touch of soul. the ‘Closest Star’ EP is a superb four-tracker that draws on diverse influences to great effect, and is one of the most original, yet floor-friendly sounding collections of music we’ve heard for a while.

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Sometimes it takes a while before you finally get the chance to seize your moment. DJ and producer Matt Masters has been working for Freerange for around 15 years, presenting their radio show as well as polishing Jimpster’s hi-hats, washing Manuel Tur’s MIDI files and ensuring that all Freerange releases adhere to EU regulations regarding deepness and houseyness. Here we present you with the sampler of his debut long player ‘Never Ending Nights’. Featuring four highlights from the eleven tracks of precisely engineered house and electronica, the LP sampler is a high-quality, pristine project, as befitting someone who has worked for so long at one of house music’s most revered imprints. Matt is proof that dedication pays off: he’s been asking Jimpster if he can put out an album literally every day for the last decade and a half and the Freerange label boss has finally capitulated, going a step further to executively produce the LP. Aside from a couple of carefully crafted downtempo tracks, ’Never Ending Nights’ is dance floor targeted but achieves the ultimate goal of the dance music album, possessing enough musicality and interesting production touches to stand up to home listening too. Matt has also thoughtfully included one track that can be used as a DJ incantation to summon up a horde of sentient headphones to do your bidding. Perhaps because of the protracted nature of the album’s production, there’s an unhurried confidence to many of these tracks, almost a swagger; big riffs slowly reveal themselves as epic chords unfurl beneath steadily ticking percussion, the assured, contemporary production providing an audio snap-shot of where UK deep house is at in 2019.

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Hugo Mari, formerly known as Books, has been receiving a lot of welldeserved love of late, and for good reason. Even though the London-based producer has been delivering respected dance-floor cuts and Edits on labels such as Omena, XVI and Sound Of Speed, his most recent release on Detroit Swindles’ Heist has really helped put him on the map. Having remixed Dele Sosimi and been remixed by Laurence Guy and Kai Alce, Hugo is moving in the right circles and it’s only a matter of time before he really gets the recognition he deserves. His debut EP for Freerange is aptly titled Unalloyed Pleasure and consists of three originals that will give you and the dance floor just that. The lead track manages to meld slamming kicks, distorted bassline, deep, cinematic strings, disco hats and cut up spoken word into something fresh and unique. Raise It Up sees Hugo go full on euphoric disco mode with an uplifting slice of sun-drenched soul just perfect for the summer months ahead. Lush Philly strings and vocal sample bring a classic vibe and catchy hook to the party. Closing out this brilliant EP we have Just A Memory, a jazzier and more pensive slice of deep house music with upright bassline and familiar Rhodes sample taking centre-stage. Snippets of vocal float in and out of focus whilst the rolling, percussive groove brings an immersive energy that locks you in to it’s seductive mood.

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It’s been five years since we had Manuel Tur grace us with a solo release on Freerange. In that time he and studio partner Adrian Hoffmann have been busy igniting dance floors with their side projects Clavis and Amberoom for labels such as Innervisions, Ovum, TAU and Freerange as well as remix and production work for artists like Andhim, André Hommen, Tensnake, Shit Robot, Tale Of Us, Ane Brun, Larse and Asobitai. Manuel continues to push his sound forward on three original tracks which make up the Organic Reach EP. On the lead track Astrakan he has crafted a sublime slice of deepness centred around a driving groove, building layers of chiming chords and a perfect bassline. Sitting somewhere between Motorbass/Super Discount, DJ Q/early Nuphonic and Steve Reich this track looks set to cast it’s majestic spell on those whose idea of a banging tune isn’t confined to obligatory 8 bar kick drum dropouts and white noise risers! On Hold Your Hand Manuel coming up with another masterpiece of deep, emotive, widescreen atmospherics with organic percussion, pulsing bass and jazz vocal refrain adding to the dramatic late-night mood. Finally, Organic Reach closes the EP in a dark and heavier style with experimental textures, time stretched fills and mutant sonic explorations making for what must be Manuel Tur’s most ‘techno’ production for Freerange to date.

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It’s taken a mere 12 years to get Simbad back on Freerange for his follow up to the 2006 Solar System release under his Mowgly moniker. Not that he’s been scratching around looking for inspiration in that time.... the London based producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s edits, remixes and behind-the-scenes production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa to South Korea and beyond. Collaboration plays a huge part in Simbad’s musical output and for his new release for Freerange he teams up with South African vocalist Brian Temba, whose previous release together Come Join In dropped on Hi:Rise back in 2011. In it’s original form Take My Hand is a sublime, forward-looking deep and soulful house track based around a filtering symphonic string loop, low-slung groove and heart-felt vocal. Simbad has created a very London-centric vibe but with a French touch and Detroit sensibilities, drawing from house heroes such as Parrish and Bradock, joining the dots and creating a fresh masterpiece in the process. Next up we have Jimpster on the remix, picking up the BPM’s slightly and loading up on his trademark deep stabs, sub-bass and spacious FX adding just enough dance-floor bump whilst leaving the vocal placed firmly at the core. On the flip side we have two SMBD Zulu Edits which replace the more spartan groove of the original with some driving Afro percussion. The first version keeps the vocal intact, the second version goes balls deep into dub territory, closing out this amazing release with an instrumental pushing the strings and hypnotic groove front and centre.

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Vienna-based producer Sam Irl popped up on our radar a couple of years ago following stellar releases on Jazz & Milk, but honestly we should have been paying far closer attention as this guy has been making the best crunchy, MPC-driven jazz-infused House music dating right back to 2006. EP’s for S3A’s Sampling As An Art and collaborative projects with Patrick Pulsinger and Dusty have won him fans including Gilles Peterson (leading to a release on Brownswood), Mr Scruff and Session Victim amongst many others. His live sets have also seen him perform at the hallowed grounds of Panorama Bar and Sonar Festival. For his debut EP here on Freerange Sam has delivered four tracks which perfectly showcase his production skills and knowledge of what makes a dance floor tick, kicking off with title track Rain Technique. Quirky keys and a playful groove help build a warm and charming vibe, light and bouncy yet deep and driving enough to get your dance on to. Trust follows with loping, lopsided percussion forming the basis of the groove, sparse Rhodes pads punctuating the beat and adding just the right musical element to the mix without cluttering the beats or compromising the sense of space. Flipping over we have All That’s Left which sees Sam utilising his trusted TR606 for some lovely snappy snares and sizzling hihats. Chiming arpeggios join the repeating chord riff creating another simple yet uplifting and playful mood which can’t fail to get under your skin. Closing the EP we have a wonky, shuffling house track which once again shows Sam proving less is more, sampling his key elements into the MPC and jamming out the arrangement in a live and improvised way which brings a fresh, somewhat naive appeal to the production.

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Massiande has become one of the most captivating talents South America has produced for authentic House music. An artist of multicultural roots, he was born in 1988 in Santiago, Chile, has lived most of his life to the side of US American people, has Dutch family heritage and his name derives from a Sierra Leone dialect. All of these global influences have had a great effect in the way he perceives and lives music. Growing up as a profound and dedicated fan of Soul, Jazz and Disco; discovering House, a genre that connected these genres' roots with electronic experimentation, was a life turning point. Inspired by the same Chicago spirit, in 2015 the release of "Stand", through the prestigious MOS Recordings, represented a step further in his career as a producer, finding its place on the crates of DJs as diverse as Patrice Scott, Voiski, Apparat or Honey Soundsystem. These days, Massiande brings a deeper and mature House sound which is reaching a wider audience, with his conceptual "Freedom" EP through UK's Phonica Records and the landmark "Yesterday, Today, Forever" EP on Jimpster's Freerange, while also revealing a consistent variety of skills on a fully dancefloor-oriented EP for Hercules & Love Affair's Mr. Intl imprint.

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STAR CREATURE's GLOBAL CARESS series drops it's 4th release with a 6 track 12" EP from BYRON. The 7" teaser released this year around Detroit's Movement Festival sold out fast and is now out of print. This 12" expands on that with more unique melodies and hypnotic rhythms.

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No Return!
Irish born, London based Tree Threes aka Jamie Meehan joins the Soul
Quest family for their 8th release of 2025 with a dance floor ready 4 tracker
that could only come from someone who has studied authentic Deep House.

With releases on Nervous, Morris Audio, Kolour and most recently Special
Grooves, Tree Threes once again flexes his production skills which were
honed at Secret Sundaze school, combining disco, jazz and soul influences
all under the Deep House umbrella.

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Repress!

* A legendary yet long lost crown jewel from the early 80s Japanese Electronic and Jazz Rock scene
* new powerful master, much appreciated by the artist
* 2LP in UV-glossy laminated gatefold sleeve with OBI
* includes A1 Poster 60x60cm and lyric sheet
* vinyl comes in Japanese Katta innersleeves

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

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Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint
with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost
twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP.
Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum
programming, trademark Rhodes, and subtle pads that build over time, his version delivers that
late-night sophistication he's known for—steering the downtempo original in a clubbier direction
without losing its blissed-out essence.
Up next we have a brand new collaborative effort with long time friend, label mate and fellow
sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate
keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic
house they do best—intimate yet club-ready, nostalgic but never retro.
Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a
jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar
riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a
laid-back, live-band feel that harks back to their See You When You Get There era.
Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the
track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody,
and finds Session Victim at their very best.
Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that
slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying
homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit.
Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies
Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of
Grandeur remains as strong as ever

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2023 REPRESS !

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Repress!

Out of print since early 2023 E. LIVE's first solo full length gets another repress due late Sept. The modern boogie sound with 6 cuts that dive deep deep into a funky transgenre orbital amalgamation of space funk, boogie, jazz funk, chill wave & deep house. Pic sleeve.

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Freerange Records is proud to present the latest EP from Coflo, the Bay Area-based producer, DJ, and dancer whose unique blend of deep, percussive house and Afro-rooted rhythms has earned him a growing cult following. With an uncompromising approach to groove, sonic texture, and the dancefloor, Coflo crafts tracks that move bodies and challenge conventions. A lifelong house dancer and a student of Afro-Brazilian art-form Capoeira, his productions bring a deeply human feel to electronic music—always raw, always rhythmically charged, and always dance-focused.

A1 - Yewnite
A2 - Who The Frequency ft. Rawb Boss
B1 - Ring The Alarm ft. Rawb Boss
B2 - Yapperz

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Quiet Village announces new label, The Quiet Village, and new single, ‘Reunion'. Matt 'Radio Slave' Edwards and Joel Martin's critically acclaimed project's first official single under the Quiet Village name in seventeen years!

Beginning life as a 'heady 6/8-time urban jazz odyssey, 'Reunion is a stunning piece of modern, Hi-Tech Jazz that draws influences from Pat Metheny, Timeline, Innerzone Orchestra, and Clyde Stubbelfield's drumming.

While previous Quiet Village material was hewn from a myriad of samples extracted from Edwards' and Martin's notorious digging, 'Reunion' and its follow-ups are drawn from a tight-knit crew of session musicians, including the likes of Jon Hester and Thomas Gandey, adding further depth and feel to the QV sound. Already a firm favourite with Gilles Peterson and Luke Una, the latter of which leaked a clip of the release via his inimitable Instagram presence and called it 'something so fucking beautiful. Tony Allen, Sun Ra meets Carl Craig, Underground Resistance, house, tech, funk, everything rolled into one'.

'Reunion’ is the first single on The Quiet Village, Quiet Village's new imprint. Despite continually producing new music and a slew of remixes, most recently for Running Back and Isle of Jura, the long-term friends and collaborators have been unable to release under their Quiet Village moniker since their LP 'Silent Movie' in 2008. While a few releases under QV and their sometime DJ aliases of Maxxi (Edwards) and Zeus (Martin) have emerged, 'Reunion' is the beginning of a new and re-energised Quiet Village that will see more original material and remixes, DJ and live touring that began in Japan in May and curated compilations of treasures, old and new, in the coming months and years.

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